The News Magazine of the University of Illinois School of Music

WINTER 2012
The News Magazine of the University of Illinois School of Music
From the Dean
On behalf of the College of Fine and Applied
Arts, I want to congratulate the School of Music
on a year of outstanding accomplishments and to
WINTER 2012
Published for alumni and friends of the School of Music at the
University of Illinois at Urbana-Champaign.
The School of Music is a unit of the College of Fine and Applied
Arts at the University of Illinois at Urbana-Champaign and
has been an accredited institutional member of the National
Association of Schools of Music since 1933.
Karl Kramer, Director
Joyce Griggs, Associate Director for Academic Affairs
James Gortner, Assistant Director for Operations and Finance
J. Michael Holmes, Enrollment Management Director
David Allen, Outreach and Public Engagement Director
Sally Takada Bernhardsson, Director of Development
Ruth Stoltzfus, Coordinator, Music Events
Tina Happ, Managing Editor
Jean Kramer, Copy Editor
Karen Marie Gallant, Student News Editor
Contributing Writers: David Allen, Sally Takada Bernhardsson,
Michael Cameron, Tina Happ, B. Suzanne Hassler, Anne
Mischakoff Heiles, J. Michael Holmes, Melissa Merli, Tracy
Parish, Edward Rath, Dusty Rhodes, Thomas Schleis, John
Wagstaff
Research Assistant: Lauren Waidelich
Graphic Design: Bonadies Creative, Inc.
Feature Photography: Chris Brown Photography
Front cover: Alison Allender (B.M.E. ’01, M.M.E. ’09) is a band
director and music educator in the Monticello (IL) Community
Unit School District #25.
UI School of Music on the Internet:
www.music.illinois.edu
Share your good news! Send photos and submissions to:
sonorities, UI School of Music
1114 W. Nevada, Urbana, IL 61801
or [email protected], by August 31, 2012.
thank the School’s many alumni and friends who
have supported its mission.
While it teaches and interprets the music of the past, the School is committed
to educating the next generation of artists and scholars; to preserving our artistic
heritage; to pursuing knowledge through research, application, and service; and
to creating artistic expression for the future. The success of its faculty, students,
and alumni in performance and scholarship is outstanding.
The last few years have witnessed uncertain state funding and, this past year,
deep budget cuts. The challenges facing the School and College are real, but
so is our ability to chart our own course. The School of Music has resolved to
move forward together, to disregard the things it can’t control, and to succeed
by deploying its manifest creativity.
The School also enjoys the widespread support of alumni and friends. In
difficult times like these, private giving provides students with special performance and publication opportunities, travel to key conferences and research
sites, and scholarships to continue their education. Recently, the College
has hired a new director of development for Music, Sally Bernhardsson, to
replace Marlah Bonner-McDuffie, who has moved with her husband and
children to Delaware. I very much hope that you can meet Sally soon, and
that you contact her if you wish to be involved in advancing the School’s
profile. On behalf of the College, I especially want to thank alumni who
provide us the support to maintain our margin of excellence.
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Robert Graves
Dean, College of Fine and Applied Arts
This year marks my 10th year as director at this very special place here on the prairie. It has been
a privilege and a pleasure to work with the students, faculty, our alums, and friends in cultivating the
wealth of resources this School has to offer.
We can be proud of the School of Music’s rich history of a pioneering spirit and the
development of innovative ideas. To name a few, the legacies of Paul Rolland’s groundbreaking
research resulting in his film series and book, Teaching of Action in String Playing; computergenerated music that began here with the premiere of Lejaren Hiller and Leonard Isaacson’s
Illiac Suite in 1956; and the Walden Quartet’s concept of a concertizing and teaching residency
at a music school live on with the work of Louis Bergonzi in string education; Scott Wyatt and
his colleagues in the Composition-Theory Division and our experimental music studios; and the
Pacifica Quartet’s world-wide reach of its artistry.
With those legacies in mind, the road to excellence continues and widens, due in no small
measure to the backing of our alumni and friends. In my tenure at this great institution,
I have witnessed significant growth in our student body, faculty, and curricular offerings. Your
encouragement, for example, has contributed to the expansion of the jazz program from one faculty
member, a band, and a course here and there into a fully staffed division offering a full complement
of degrees in jazz studies. Likewise, the Allerton Music Barn Festival finished its 5th season as an
academic year-opening showcase for the School of Music faculty with incredible largesse from our
community of friends and alumni.
Although the University is weathering a very difficult financial period, the School of Music will
emerge stronger with your support. I look with optimism for a bright future as we prepare a selfstudy for the renewal of our ten-year National Association of Schools of Music accreditation this
spring. We would greatly appreciate your help with our self-study if you would complete the online
alumni survey, the details of which can be found on page 47.
While some of our faculty and staff who officially retired last year are still on campus working for
us, this past year we said goodbye to a number of longtime colleagues: Professors Emeriti Chet Alwes
and Sherban Lupu; Professor Pete Griffin, who assumed the chairmanship of the music department
at Elmhurst College; and Marlah Bonner-McDuffie, who accepted a position at the University of
Delaware. We thank them for their service and wish them well.
Though change is constant, it can, indeed, revitalize. It is in that spirit we
welcome new colleagues to the faculty and staff about whom you can learn
more in this issue. On a personal note, change has been at the forefront in my life
this past year too. Last summer, Jean and I married off our youngest daughter,
Kristen, in Moss Beach, CA, and we celebrated the birth of our first grandchild,
Ethan Patrick Fraker. A whole new phase of life has begun for us.
Thank you for your steadfast support of the School over the years, and please
keep in touch and continue to let us know about the changes in your lives.
Karl Kramer
Director, School of Music
in this issue
From the Director
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Winter 2012
CAMPUS NEWS
Allerton Festival Recap
New Year – New Faces –
New Excitement
Concert Jazz Band’s
New CD
Spring Ensemble
Performances Traditions with
Enhancements
DoCha Festival Returns
Minor Has a Major
Opportunity
Hobson Presents
Schumann
Mentorship and ServiceLearning in Music
New SoM Web Site
COVER STORY
P utting the Who in
Music Education
F E AT U R E S
“Brothers, Sing On!”
The Illinois Varsity
Men’s Glee Club at 125
The New D.M.A.’s
F A C U LT Y F E AT U R E
J im Pugh: ‘Reelin‘ in the Years’ with Steely Dan
DEPARTMENTS
Development Update
Upcoming Alumni
Relation Events
New Appointments
Faculty News
New Publications and
Recordings
Student News
Alumni Notes
Alumni News
In Memoriam
Partners in Tempo
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Campus News
2011 Allerton Music Barn Festival Recap
Dusty Rhodes, Arts and Humanities Editor, UI News Bureau
Four-time Grammy-winner Arturo Sandoval has
performed with Dizzy Gillespie, Johnny Mathis,
Frank Sinatra, the Boston Pops, the London
Symphony, Celine Dion, Alicia Keys, and Justin
Timberlake. On September 2, he played at the
Allerton Music Barn
Festival.
This marks the
fifth year of the
annual festival, created by Karl Kramer,
the director of the
School of Music. The
festival, which ran
from September 1-5,
2011, opened with
the Allerton Salon
Orchestra performing a variety of
“Viennese bonbons”
under the direction
of Professor Donald
Schleicher. Solists
for the evening included music faculty members
Dawn Harris (soprano), Stefan Milenkovich
(violin), and Debra Richtmeyer (saxophone).
The performance by Cuban-born trumpet
master Sandoval was backed by a half-dozen
professors from the UI’s jazz studies program,
including Tito Carrillo (trumpet), Larry Gray
(bass), Chip McNeill (saxophone), Jim Pugh
(trombone), Chip Stephens (piano), and guest
drummer, Joel Spencer from the Chicago campus. For several years McNeill toured the world
as Sandoval’s full-time musical director. In addition to his Grammy
awards, Sandoval has
six Billboard Music
Awards, plus an
Emmy for composing the score for the
HBO movie For Love
or Country, based
on his own life story,
starring Andy Garcia.
Sandoval is known
for his virtuosity in
Latin jazz, bebop,
ballads, and classical
music.
The Saturday
night performance
by the Pacifica
Quartet [Simin Ganatra (violin); Sibbi
Bernhardsson (violin); Masumi Per Rostad
(viola); and Brandon Vamos (cello)] also featured guest musicians from the music faculty:
John Dee (oboe) played in Mozart’s Quartet in
F major, K. 370, and Ian Hobson (piano) joined
Pacifica for Brahms’ Piano Quintet in F minor,
Op. 34.
The festival’s Sunday morning concert, occurring so close to the 10th anniversary of the
9/11 attacks, was dedicated to the memory of
victims of that tragedy. Titled “Mourning Music,”
the concert featured the Allerton Bach Choir and
Orchestra under the direction of Professor Fred
Stoltzfus, performing Bach’s Cantata No. 198
(“Trauerode”) and the world premiere of “Credo,”
commissioned for the festival and composed by
Professor Erik Lund. Opening the concert was
Bach’s Ricercare from The Musical Offering, arranged by Professor Michael Cameron (double
bass). Solists that morning included alumna
Desirée Hassler (D.M.A. ’11), voice student
Cassandra Jackson, and Professors Ricardo
Herrera (baritone) and Jerold Siena (tenor).
On Sunday evening, Milenkovich again
took the stage, performing Handel’s Sonata for
Violin and Piano in D major, Beethoven’s Sonata
No. 7 in C minor, and fiery works by Pablo de
Sarasate, Henryk Wieniawski, Paganini and Fritz
Kreisler. He was joined by renowned pianist
Rohan De Silva, who has performed with Joshua
Bell, Midori, Itzhak Perlman, Nadja SalernoSonnenberg and Pinchas Zukerman.
The festival closed Monday night with a
concert by the Allerton Winds, conducted by
Professor Robert Rumbelow, performing works
by Richard Strauss and Dvorak. Members of the
ensemble included music faculty Jonathan
Keeble (flute), J. David Harris (clarinet), John
Dee (oboe), Timothy McGovern (bassoon), and
Bernhard Scully (horn).
NEW YEAR – NEW FACES – NEW EXCITEMENT
J. Michael Holmes, Enrollment Management Director/Clinical Assistant Professor of Music
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The Music Admissions Office at the University of Illinois has undergone a
“changing of the guard” this year. I am humbled to oversee such an important
part of the School of Music in my new position as the enrollment management director. I would be remiss if I did not mention my colleague Joyce
Griggs, who has provided steadfast leadership to the Music Admissions
Office for the last eleven years. Joyce has stepped into the role of associate
director for the School of Music, where she has transitioned from overseeing all matters relating to
prospective students to now supervising academic affairs for all current students of the School of
Music. It is also my pleasure to welcome Angela Schmid as the enrollment management assistant
director. As alumni of the School of Music, Angela and I are uniquely qualified to help prospective
students in their decision to attend the University of Illinois.
Although we have “big shoes to fill,” I am optimistic and look forward to the challenge. It is
great to be back on campus—with all of the energy of a new year, who could help but to be excit-
ed! Our first task was to recruit for the School of Music Open House, which took place on September
27th. This annual event allows us to figuratively open all of our doors to give prospective students
a taste of life as a music student at the University of Illinois. Our goal was to host 150 prospective
students at this year’s Open House. Happily, we exceeded that goal, welcoming nearly 160 prospective students (with parents, the actual number of guests totaled over 400).
Our attention has now turned to the plethora of recruitment events and activities planned
around the United States, where we will continue to tell students about all of the great things
that the University of Illinois School of Music has to offer. In addition, we are implementing a
new marketing campaign, most notably, the new School of Music Web site; and we are moving
our operation into the 21st century by providing nearly all of our application materials online and
introducing a new Web portal that will allow our faculty to prescreen applicants. For more information on all of the activities of the Music Admissions Office, please see our Web site at www.music.
illinois.edu/prospective-students.
CONCERT JAZZ BAND'S NEW CD IS ALL-STUDENT
EFFORT OF WRITING, ARRANGING
Dusty Rhodes, Arts and Humanities Editor, UI New Bureau
S P R I N G 2012
ENSEMBLE
PERFORMANCES
WIND SYMPHONY, February 18
UI PHILHARMONIA, February 28
UI CHAMBER ORCHESTRA, February 29
SCHOOL OF MUSIC OPERA:
Barber of Seville, March 01-02-03-04
CAMPUS AND UNIVERSITY BANDS,
March 11
HARDING AND HINDSLEY BANDS,
March 11
CHORALE, March 13
WIND ORCHESTRA, March 14
NEW MUSIC ENSEMBLE, March 15
WIND SYMPHONY, April 01
UI TROMBONE CHOIR, April 05
UI PERCUSSION ENSEMBLE, April 13
Photo: Brian Stauffer, University of Illinois at Urbana-Champaign
UI BLACK CHORUS, April 21
In December 2010, the University of Illinois Concert Jazz Band released a new CD called Freeplay. The
opening track—“If I Only Had Seven Giant Brains” (a mash-up of the jazz standards “Giant Steps” and
“Seven Steps to Heaven” with Scarecrow’s theme from “The Wizard of Oz”)—offers immediate proof
that these students are professional-caliber artists. Once the listener has acclimated to the nimble
musicianship displayed throughout the rest of the double-disc set, then it might be time to tell the
truth about this album: that 11 of the tracks are original compositions written by UI jazz performance
students, and all 17 tunes on the CD were arranged by the students in the band.
Chip McNeill, chair of the Jazz Studies Division, says the student charts set this project apart
from the band’s previous CDs and from CDs produced by other college jazz programs. “We needed to
get to this point, where we had something to offer where it’s all done by the students in every way,”
McNeill said. “That happens in other places too, but we’ve done it in a very, very short span of time.”
UI didn’t offer a jazz performance degree until nine years ago; since then, the program has lured
well-known musicians to join the full-time faculty, and those professors have attracted talented
students. The jazz program now includes 18 performing ensembles, including four big bands. The
Concert Jazz Band is considered the top group.
Grad students comprised the majority of the band that recorded Freeplay in April 2010, but trombonist Scott Ninmer—a junior at the time of the recording—composed five of the tunes (including
the title track) and arranged two others. Another then junior, alto-saxophonist Brian Krock, has two
original compositions on the CD. (The album also includes a few standards, like “Your Red Wagon”
and “Polkadots and Moonbeams.”)
McNeill said UI’s jazz curriculum requires more writing, orchestrating and performance classes
than some other schools. “The degrees we offer are jazz performance, but being a good and conversant writer in many idioms and styles means being a good performer in many idioms and styles. They
go hand-in-hand. They always have.”
Recording the CD provided more learning experiences for the students. Working with a small
budget donated by a private party, the band booked an Indianapolis jingle studio and recorded all
17 tracks in two days, with only one or two takes per track. “They [the students] got to see what goes
on in a studio in terms of a timeline, with a limited amount of time, a limited amount of money.” The
lessons continued during the mixing of the tape, which was also done by students, under McNeill’s
supervision, over the course of three days.
WOMEN’S GLEE, April 21
Freeplay is available at the price of $20 at all UI jazz ensemble performances and through McNeill at [email protected].
For more event information:
http://music.illinois.edu/events_and_performances
WIND ORCHESTRA, April 22
CAMPUS AND UNIVERSITY BANDS,
April 24
JAZZ TROMBONE ENSEMBLE, April 24
UI STEEL BAND, April 24
HARDING AND HINDSLEY BANDS,
April 25
JAZZ COMBO I, April 25
JAZZ BAND III, April 26
SCHOOL OF MUSIC OPERA and NEW
MUSIC ENSEMBLE: Paradises Lost,
April 26-27-28-29
CONCERT JAZZ BAND, April 27
BALKANALIA ENSEMBLE, April 28
JAZZ BAND II, April 28
LATIN JAZZ BAND, April 28
VARSITY MEN’S GLEE CLUB 125th
Anniversary Concert, April 28
http://music.illinois.edu/events_and_performances
NEW MUSIC ENSEMBLE, February 17
JAZZ COMBO II, April 29
JAZZ SAXOPHONE AND GUITAR
ENSEMBLES, April 29
UI PHILHARMONIA, April 29
WIND ORCHESTRA, April 29
JAZZ VOCAL ENSEMBLE, May 01
WIND SYMPHONY, May 01
JAZZ BAND IV, May 02
SCHOOL OF MUSIC OPERA STUDIO,
May 02
UI SYMPHONY ORCHESTRA, May 02
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Campus News
Traditions with Enhancements
David Allen, Outreach and Public Engagement Director/Clinical Assistant Professor of Music Education
One of the greatest
aspects of my job is
meeting new people;
however, I am most
pleased when I meet
Illinois alumni for the
first time at our events
and programs. These
alumni often make me
think of my first involvement with music at Illinois as I stood in the
registration line for Illinois Summer Youth Music
in 1984. Those memories also encourage me to
remain diligent in maintaining, enhancing, and
sharing the School of Music’s rich traditions in
outreach and public engagement for the sake
of the thousands of high school- and middle
school-aged musicians who experience music at
Illinois every year.
Speaking of traditions...despite the challenging economy, we once again concluded a highly
successful summer of ISYM programs. While
ISYM is a bastion of tradition, our new pre-college program offerings in clarinet, French horn,
and viola and more opportunities on the way
for our most experienced participants to work
directly with School of Music faculty through
the ISYM Academy will only serve to enhance
the ISYM experience. ISYM 2012 will include 27
program options. Our two newest programs are
Composition/Electronic Music and Rock Band/
Song Writing. Also, I have been working closely
with Professor Ann Yeung to plan a weeklong
experience for young harpists who are interested in coming to campus for an ISYM orchestra
program. I urge you to take a look at the various
programs available on our Web site (www.music.
illinois.edu/isym), where you will find detailed
descriptions and registration information.
Also online you can view the other special
programs and events we have planned for this
year. The Piano Laboratory Program under the
guidance of Professor Reid Alexander is once
again enrolled to capacity providing piano
instruction for community members and UI
students of all ages and levels of ability. Our
invitational festivals for school ensembles are
filling up, and we are making plans to provide
great experiences for the students and directors involved. One of our newest programs, the
School of Music Academy, was initiated this
fall by Professor Julie Gunn and resembles our
ISYM Academy in that it appeals to high school
students who have attained a high level of musicianship and wish to play music with others who
have similar skill levels and interests. In collaboration with the DoCha Chamber Music Festival,
The Conservatory of Central Illinois, and perhaps
others soon, I am excited about the potential for
interest and growth in this program.
In my eighth year working in outreach and
public engagement and my twenty years with
ISYM, I realize now more than ever that our relevance and usefulness is born out of traditions
combined with enhancements. I consider enhancements to be the lifeline for wonderful programs like ISYM; the Superstate Concert Band
and Illini Marching Band Festivals; the UI Jr. & Sr.
String and Orchestra Clinics; the Instrumental
Chamber Music Symposium at Allerton House;
Summer Harp Week; the Piano Laboratory
Program; the School of Music Academy; as well
as countless endeavors in the interest of outreach and public engagement. Since the very
best enhancements are often most apparent to
the participants, I urge you to get in touch with
me if you have thoughts or questions regarding
our programs. Your support and feedback are
vital to our continued offerings in music.
DoCha Chamber Music Festival Returns
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The DoCha Chamber Music Festival will return to downtown
Champaign for a third season March 31 through April 3,
2012. Having renewed its partnership with the Orpheum
Theatre, DoCha will once again transform the historic,
former vaudeville theatre built in 1914 as a one-third scale
model of the opera house in Versailles into a fun, inviting,
and unique chamber music venue. Programs will feature
unique, multi-genre arts collaborations with performances
by UI’s world-renowned arts faculty as well as students and
visiting guest artists.
At the three-day April 2011 festival, DoCha more
than doubled its audience reach from the previous year by
adding family-friendly daytime programs for youths each
day. DoCha’s 2011 children’s program, “Wolfgang Amadeus
Schmutzinberry” was a comical play written by visiting
guest artist Rami Vamos, an acclaimed music educator and
guitarist from New York, and featured Vamos, the Pacifica
Quartet, and various actors including Robert Graves, Dean
of the College of Fine and Applied Arts, in the role of Ludwig
Van Beethoven. This program was broadcast live on Illinois
Public Media’s WILL FM 90.9.
DoCha also held a Young Artist Chamber Music
Competition for local youth chamber ensembles under the
age of 18. Winners were featured in a public master class
during the April 2011 festival led by School of Music faculty
members. DoCha has expanded its educational offerings
for the 2011-2012 season by collaborating with the School
of Music Academy, a new weekly chamber music program
for gifted young artists and will offer more public chamber
music master classes throughout the academic year.
MINOR HAS A MAJOR OPPORTUNITY
Edward Rath, Associate Director Emeritus, School of Music
John Minor might be called a “Man for All
Tunings.” As the head piano technician for the
School of Music, John is responsible for overseeing the wellbeing of numerous Steinway
grand pianos and other pianos of all sizes on
a map of ever-going dimensions—literally
hundreds of pianos. In addition to his duties of
tuning, regulating, and rebuilding instruments,
John’s recommendations concerning purchases
and the distribution of work on pianos when it
has to be “farmed out” are highly valued.
Considering his reputation and experience,
it’s no wonder that John found
himself in the enviable position of
being offered an opportunity to
serve as head technician for a fiveweek period of time this past summer at the prestigious Tanglewood
Festival in Massachusetts. Steve
Carver, formerly the head piano
technician at the University of Iowa,
had served on the Tanglewood
staff for many summers; but when
Carver moved to the Juilliard
School in spring 2011, his new
summer commitments in New York
did not allow for a Tanglewood
summer engagement. That’s when
Minor entered the picture.
Looking at John’s job description and his weekly schedule at
Tanglewood are enough to make
you catch your breath. “They certainly kept me hopping,” Minor said. “In addition to keeping a half dozen concert pianos in
tip-top shape, I had to oversee three apprentice
tuners. We had 80 rehearsal pianos to worry
about, too. At UI, we tune concert pianos for
each performance and other instruments a
couple of times a year unless they have special
needs or problems with which to deal. But at
Tanglewood, the concerts and master class pianos are tuned almost every day at least once!”
The festival organizers include DoCha founder and
Assistant Professor of Viola Masumi Per Rostad, Associate
Professor and Chair of the Musicology Division Gabriel
Solis, and DoCha Executive Director and School of Music
Director of Development Sally Takada Bernhardsson. A
true community collaboration, all participants in DoCha,
including the performers, twelve UI student interns, and
many business partners, have donated their time and talents to the project.
Like he does at Illinois, John had to diagnose problems that might show up in one
instrument or another and then make the
appropriate recommendation as to repair,
replacement, or whatever. “At Tanglewood,
however, everything is under a compressed
schedule, and things need to be done in a day
rather than in a week.”
One of the big surprises came when John
discovered that Tanglewood is basically an
outdoor festival. “Sure, they have concert halls,
but the walls and doors are often removed to
Screen frames of John Minor from a video produced by
Anastasia Tumanova for ninth letter. The short video can
be seen at http://youtu.be/yfeNGRe2GrU.
create an open-air space, and the temperature
and humidity become much greater influences on the pianos than, say, in the Krannert
Foellinger Great Hall. It’s a lot like what one
finds at Ravinia closer to home—and still
closer, at the Allerton Park Barn concerts outside of Monticello, Illinois. There, the summer
heat causes some real headaches, technically
speaking, but my experience at Allerton in the
past helped me do a better job of things at
Tanglewood, and what I learned at Tanglewood
this past summer helped me deal with extreme
heat problems this past August in Monticello.”
Tanglewood is the summer home of the
Boston Symphony and annually attracts some
of the best student musicians from America
and abroad, as well as the world’s greatest
teachers, conductors, and performing artists.
Names like Yo Yo Ma, Emanuel Ax, and Kurt
Masur are balanced with the likes of James
Taylor, Garrison Keillor, and John
Williams. “Peter Serkin, son of the
famous pianist who performed
often at Tanglewood, maintains
a home in the area and performs
regularly at the festival. He asked
me to do some special ‘seventh
comma mean-tone’ tuning,
something relatively new for
me, so it was another learning
opportunity. All of the artists are
very appreciative of our making
their concerts the best possible
experience for them and for their
audiences.”
And speaking of audiences,
John said they were great. “Like
the artists, the audiences really
appreciated my technical and
musical skills and talents. Also,
I think classical music lovers are
like rock concert groupies. People were trying
to get close to the artists, attending rehearsals
by such artists as violinist Joshua Bell. It was
very exciting—just a wonderful experience.”
John’s return to Tanglewood next summer
is still an open question, but one thing’s for
sure—the five weeks this past summer will
always to be remembered!
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Campus News
HOBSON PRESENTS SCHUMANN
Edward Rath, Associate Director Emeritus, School of Music
“Schumann’s early
music can be unusual,
but his harmonic
vocabulary is rather
predictable. In the
later works, however,
the harmonies are
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much less logical.”
Those who have followed Ian Hobson’s career
over the years know of his interest in programming the complete works of a composer.
Some of his many recordings are a testament
to this concept: for example, the four concertos and Rhapsody on a Theme of Paganini by
Rachmaninov; the same composer’s complete
piano transcriptions; the entire musical output
of Chopin (including vocal and chamber music
and juvenilia); the complete Beethoven piano
sonatas and the complete Brahms variations;
and, a project underway, the Moscheles piano
concertos (the eighth
of which Hobson has
recreated). As well,
Hobson presented a
series of ten recitals
in New York in 2010,
featuring works by
both Schumann and
Chopin mixed in with
piano music by other
composers who either
influenced or were influenced by the two “birthday boys.”
So, it was not a complete surprise a few
months ago to see a beautiful poster announcing Ian’s series of ten concerts covering the complete solo piano works by Robert Schumann,
concerts to be presented on Monday nights
throughout the fall and spring semesters in
Smith Memorial Hall. “I first started thinking of
this possibility for Schumann some 15 years
ago, when I programmed a series of five salonstyle concerts at Krannert, featuring his ‘golden
works’ like the Symphonic Etudes, Carnaval,
Fantasiestücke, and the like. It was a natural
thing to aim for 2010, the Schumann bicentennial, but I was already deeply into the complete
Chopin recordings and concerts for that composer’s bicentennial, so I moved things back a
year and will present the Schumann concerts in
2011-2012.”
The concerts, sponsored by the UI Center for
Advanced Studies, Krannert Center, School of
Music, and Sinfonia da Camera, are organized by
moods, genres, titles, and aspects of Schumann’s
thinking rather than by the works’ compositional chronology. Thus, titles like “Themes and
Variations,” “Sonata Forms,” and “Fantasies” are
balanced by “Love Letters,” ”Prophetic Visions,”
and “Last Reflections.” And the groupings are
not always obvious by virtue of their titles,
with the result that some well-known works
are paired with those that are hardly known or
played at all. “Schumann’s early music can be
unusual, but his harmonic vocabulary is rather
predictable. In the later works, however, the harmonies are much less logical. A great example of
the latter, the Gesänge der Frühe, Op. 133, are five
small pieces from 1853 that are absolute gems.”
Hobson also talked enthusiastically about
what is reputed to be Schumann’s last work
written before his final plunge into insanity,
the five Geistervariationen from 1854. “Clara
Schumann ‘sat’ on them for years, then gave
them to Brahms, who had used the same theme
for his Variations for Piano, Four Hands, Op. 23
[1861]. Although the
theme itself was included
in the Breitkopf und Härtel
edition of the complete
Schumann, the variations
were weren’t printed until
the 20th century. They’re
thickly contrapuntal, probably written away from
the piano. Schumann apparently was unconcerned
about their difficulty. There’s a certain similarity
to the late piano works of Beethoven, and of
course Schumann was tremendously influenced by Beethoven, although the latter’s late
piano works were overall more elevated than
Schumann’s.”
After 35 years on the piano faculty of the
School of Music, Hobson retired this past spring
from full-time teaching but has returned to
teach what some would call nearly a full load
of talented graduates (15 D.M.A. students!) and
undergraduates from all over the world. “I am
enjoying a ‘study period,’ where I have a bit more
time to pause and reflect. I still find it stimulating to help doctoral students especially as they
wend their ways through the considerable degree requirements. But I am continuing to work
with Sinfonia da Camera [the orchestra that
Hobson founded in 1984] and also scheduled to
play solo and chamber music recitals in America,
including the UI, of course, Switzerland, Poland,
etc. I also plan to record the entire Schumann
works and will write my own liner notes for the
CD set.”
The English-born pianist, who graduated
from the Royal Academy of Music in London at
the age of 17, likely the youngest graduate ever
from that prestigious institution, is also finding time to return to his homeland as a Visiting
Fellow at Cambridge University.
For information about the all-Schumann
series, please go to the School of Music
Web calendar at www.music.illinois.edu/
events_and_performances.
Mentorship and Service-Learning in Music
Tracy M. Parish, Program Coordinator, University of Illinois Office of Public Engagement
Change often brings
with it the necessity for
adaptation and creativity, and the new School
of Music Mentoring
Program is a testament
to the versatility and
imaginative thinking at
the core of a sustained
record of success in
meeting critical challenges while cultivating a
superior learning environment. Our mentoring program had its beginnings in the fall of
2010 when an increasing number of students
brought to light a series of common themes in
the challenges they face, including a need for a
more robust student community support system and a greater opportunity for service-based
learning.
On a crisp November morning, a group that
included Sam Smith, the engagement director
at the Krannert Center for the Performing Arts;
Emily Malamud, an undergraduate student
in music education; and me, as the outreach
programs coordinator for the School of Music at
the time, met for a brainstorming session that
produced a number of ideas for possible solutions to our challenges. The idea of developing
a mentoring program ultimately took center
stage, as Ms. Malamud had been involved as a
mentor in the Illinois Promise program and suggested a basic structure for a School of Music
program based on her experience.
That initial conversation spawned a flurry
of new initiatives associated with the mentoring program, including a MUS 199 discovery
course, “Mentorship in Music,” devoted to the
development of mentoring skills for School of
Music mentors. In addition, we proposed and
were approved to conduct a research study entitled, “Mentorship and Academic Achievement
in Higher Education Music Curriculum,” for
which I am serving as the responsible project
investigator and Ms. Malamud as the investigator. Subsequently, we were awarded a Provost’s
Initiative for Teaching Advancement grant
through which the mentoring program and associated research study are funded.
The School of Music Mentoring Program
kicked off in August 2011 with a reception at the
Krannert Center for the Performing Arts where
twenty-four participating students were introduced to each other as well as key administrative figures in the School of Music and College
of Fine and Applied Arts. The program consists
of seven bi-weekly one-on-one mentor-mentee
meetings, three cultural events at the Krannert
Center, and two service-learning experiences in
the local community over the course of the fall
semester. Mentors are upper level undergraduate students selected for participation based
on self-nominations and faculty recommendations, and pairings are made through an indepth application and review process. Mentors
participating in MUS 199 submit reflections on
their mentor-mentee meetings and responses
to discussion topics provided through a course
Compass site.
On August 27, 2011, seven mentor-mentee
pairs completed their first service-learning
experience by volunteering at the 36th annual
Urbana Sweetcorn Festival. Special thanks go to
Scott Schwartz, Associate Professor of Library
Administration and Archivist for Music and Fine
Arts, for providing this opportunity to engage
with and experience the local community.
Participating students were assigned to the One
Community Together stage area, assisting program coordinators in various children’s activities
including making animated spinners, whirligigs,
and didgeridoos! Other service-learning opportunities are facilitated through a partnership
with CUVolunteer.org, an organization dedicated to helping volunteers and residents of the
Champaign-Urbana area connect.
The fall cultural events mentors and mentees
experienced together included a Sinfonia da
Camera orchestra performance in September,
The Miles Davis Experience in October, and a
production of W.A. Mozart’s The Magic Flute
by the School of Music Opera Department in
November.
The associated research study aims to compare and contrast the experiences of mentees
participating in the mentoring program with
the experiences of peers enrolled in the School
of Music who are not participants. Through
interviewing and tracking the progress of
first-year undergraduate student mentees and
non-mentees, we will determine the effects of
supplemental advising, resources, and cultural
and community activities on academic performance and social acclimation to the university
environment.
Our hope is that, through these diverse experiences, participating first-year students will
acclimate to the university community more
quickly and experience a rich and supportive
academic environment in which they can thrive
and grow as individuals and professionals.
SCHOOL OF MUSIC LAUNCHES
NEW WEB SITE
Would you like to receive an
electronic copy of sonorities?
Last year a malicious software program inundated the
For next year’s issue of sonorities, we hope
to give our readers the option of receiving
the sonorities printed edition or a “greener”
online version. We plan to make accessible
current and past issues on the School’s Web
site as well. Let us know what you think
by sending your comments to sonorities@
music.illinois.edu.
School of Music Web site, and it had to be taken offline
for nearly nine months. A temporary Web site was used
until a newly redesigned School of Music Web site was
launched in August 2011. There are a plethora of new
features that were built into the new design, including
calendar functions that allow students and faculty to
schedule recitals, input their performance programs,
and check out rehearsal spaces online. Guests on the Web site are able to download calendar items
(and details) directly to their personal calendar, and soon a new media center will be added to the
site so that past performances by our students, faculty, and ensembles can be accessed online.
Although this past year has been difficult without a fully functioning Web site, the School of Music
used this time to update and improve it, and we thank you for your support and understanding.
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Please be sure to visit the new School of Music Web site: www.music.illinois.edu
7
Development Update
Sally Bernhardsson, Director of Development, School of Music
A TIME FOR NEW BEGINNINGS, DISCOVERY, AND THANKS
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I would like to start my
update by expressing
how delighted I am to
have recently joined the
University of Illinois
School of Music family
as your new director of
development. At the time that I am writing
this update, I have been in this role for just
six weeks. However, I have discovered new
things about the School of Music and the UI
community each day since my start that have
impressed me and given me more reasons to
be proud to have joined this great institution.
The 2011 fall semester began only one month
ago, but I have heard numerous student and
faculty performances and participated in many
campus activities that have demonstrated just
how bright, dedicated, and world-class our
students, faculty, administration, alumni, and
supporters are.
While I already feel quite at home here
at the School of Music, there is much more
discovery left to take place. I hope to have the
opportunity to get to know you individually
and learn about your experiences with the
School of Music. One of the most enjoyable
aspects of what I do is hearing your stories.
The School of Music has a deep and rich history and an impressively diverse and comprehensive scope of offerings within the broad
category of “music.” This means that each of
you has a truly unique story to tell about your
experience here, and I look forward to learning more about why you stay connected and
why you generously support our School.
Knowing how dynamic and devoted our
School of Music community is, it comes as no
surprise to me that we have been successful in
our goals for Brilliant Futures: The Campaign
for the University of Illinois, which will end
at the close of the 2011 calendar year. I am
pleased to announce that the School of Music
has exceeded its $5.2 million goal ahead of
schedule. As of September 8, 2011, the School
of Music’s campaign gifts to date total $15.6
million. The College of Fine and Applied Arts
as a whole has also been successful with its
campaign goal of $70 million, having raised
$78.2 million as of September 8, 2011.
I would like to extend special thanks to
Joyce D. and Alan J. Baltz for their recent
$1 million bequest to the Strings Division of
the School of Music. They have established
the Joyce Dustan Baltz Scholarships Fund for
undergraduate studies in strings, the Joyce
Dustan Baltz Fellowships Fund for graduate studies in strings, and the Joyce Dustan
Baltz Professorship in Strings Fund to honor
Mrs. Baltz’s longtime involvement in music
and the arts. Mr. and Mrs. Baltz visited the
School of Music for the first time this fall and
were treated to a private concert in the Smith
Memorial Room showcasing some of our
outstanding string students. All of us greatly
enjoyed welcoming Mr. and Mrs. Baltz to the
School of Music.
During the past year, the School of Music
has also received gifts from the following estates or trusts:
•A
nn Scott Mason Trust for the Ann and
Ralph Mason Endowed Fund in Music
•D
onald E. Messman Trust for the
Marching Illini Band Fund
•G
eorge Unger Charitable Remainder
Unitrust for the George M. Unger
Endowment Fund in Music
• Thelma Willett Estate for the
Thelma Willett Piano Scholarship
On behalf of the School of Music, I would
like to offer our gratitude to these alumni and
friends who have chosen to remember the
School of Music in their estate plans.
I am also grateful to the Illinois Opera
Theatre Enthusiasts (IOTE) for their generous support of the School of Music Opera
Program. Under the passionate leadership of
UI alumna and opera lover Phyllis Cline (B.A.
‘66, M.S.W. ‘68), IOTE provides sponsorship
each year for a School of Music opera through
the joint contributions of its members. This
year, IOTE will be a sponsor of the Opera
Program’s production of Wolfgang Amadeus
Mozart’s The Magic Flute in November 2011.
As the Brilliant Futures campaign comes to
a close, I would like to thank everyone who
has contributed to the School of Music campaign and in doing so provided the inspiration
and support needed for our talented students
and faculty to continue their pursuit of excellence. In particular, I would like to thank
the School of Music’s board, the National
Advisory Council, for their leadership, strategic advice, financial support, and commitment to the School. I would additionally like
to thank my predecessor, Marlah BonnerMcDuffie, for her hard work, dedication, and
direction of this campaign since its inception.
And on a personal level, I would also like to
express my thanks to the many people who
have warmly welcomed me to the School of
Music and the UI campus. I sincerely look forward to working with each of you to continue
on our path toward a very bright future.
The importance of private gifts to the School of Music
increases every year. The State of Illinois provides basic
operating revenue for the University; however, support
from state government covers less than 14.6 percent of the
total budget. So gifts from alumni and friends are crucial to
provide the margin of excellence that distinguishes the UI
School of Music.
We continue to evaluate new opportunities and
programs that will help to ensure our position as one of the
leading music schools in America today. To reach our goals
and to provide the best possible education for our students,
we must have the proper resources in place. The following
items represent the current needs and wishes of the School
of Music:
Scholarships and Fellowships: Continued excellence depends
in part on attracting the most talented students from across the
nation and around the world. To remain competitive among the
leading schools in the country, we must be prepared to assist
exceptional students.
Chairs and Professorships: Endowed chairs and professorships
serve as effective tools with which to recruit and retain scholars
and performers. Renowned members of the faculty attract the
most talented students and the brightest minds to study at the
University of Illinois. As artists and scholars, such faculty contribute to the world of research, creativity, and learning that are the
University’s principal missions.
Building Infrastructure and Equipment: Maintaining facilities
and equipment for our students and faculty takes considerable
resources. To be competitive with our peer institutions, we must
continue to have outstanding facilities and performance venues.
Priorities in this area include renovation of Smith Memorial Hall,
the Music Building Auditorium, practice rooms and classroom
facilities, and continued development of the Allerton Music Barn.
Opera Sponsorship: The School of Music produces two fulllength operas each year. An opera production takes considerable
time, effort, and money—often in excess of $60,000. While ticket
sales cover about half the cost of each production, additional
support will provide both student performers and audience
members with operatic experiences comparable to those found
in major cities, while keeping ticket prices reasonable. There are
several specific giving opportunities available for opera sponsorship each season.
Unrestricted Gifts: In these ongoing times of economic uncertainty, the School of Music, like all institutions, needs the
flexibility to manage our financial resources in strategic ways
that continue to provide our students with the best possible
education. An unrestricted gift will allow the School of Music to
invite visiting guest artists to give master classes to our students,
showcase our student ensembles in run-out performances outside of Urbana-Champaign, assist faculty with recruiting the best
students in the nation, and much more. Consider making an unrestricted gift to assure that your support goes where it is most
immediately needed.
We hope you will consider making a gift. If you are interested in funding
projects such as these or would like to explore other opportunities, please
contact the School of Music’s Development Office at (217) 244-4119.
WATCH FOR THESE UPCOMING ALUMNI RELATION EVENTS
Illinois Music Educators Association
Conference Alumni Reception
Friday, January 27, 2012
The Packard
211 NE Adams Street, Peoria, Illinois
6:00–8:00 p.m. Reception
School of Music Twenty-Fifth Annual
Awards Luncheon
Wednesday, April 25, 2012
Alice Campbell Alumni Center
601 S. Lincoln Avenue, Urbana
12:00–2:00 p.m. Ballroom
School of Music Convocation
Sunday, May 13, 2012
Smith Memorial Hall
805 S. Mathews Avenue, Urbana
5:30–6:45 p.m. Smith Recital Hall
102nd Illinois Homecoming
Thirteenth Annual 21st Century Piano
Commission Award Concert
Varsity Men’s Glee Club 125th Anniversary
Celebration
Wednesday, February 8, 2012
Krannert Center for the Performing Arts
7:30 p.m. Recital, Foellinger Great Hall
9:15 p.m. Reception, Krannert Room
Rehearsals and Receptions: Thursday, April 26
through Sunday, April 29, 2012
Concert: 7:30 p.m. Saturday, April 28, 2012
Krannert Center for the Performing Arts
Alumni Band Reunion and Performance
University of Illinois at Urbana-Champaign
1:00 p.m.–11:00 p.m., Friday, October 26, 2012
7:00 a.m.– 5:00 p.m., Saturday, October 27, 2012
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By Anne Mischakoff Heiles
“‘WHO-NESS’ MATTERS
MORE THAN THE
‘WHAT-NESS’ IN
FINDING WAYS TO
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BRING MUSICAL
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Photo by Chris Brown Photography
No, we’re not talking about Roger Daltrey’s, Pete Townshend’s, John
Entwistle’s, and Keith Moon’s The Who. And the Music Education Division
at the University of Illinois is more apt to encourage building instruments
than destroying them, though the faculty would probably like to engender
energetic performances among their university and, by extension, younger
students.
Today’s music education faculty members could call one of their central missions the title of The Who’s 1978 album: Who Are You? They see
themselves as looking for “The Who” in their students. As Chair Louis
Bergonzi says, “The question that is more front-and-center than ever is
‘Who are the learners in front of you and how do you meet their needs?’ It is
from this only that the questions of ‘What do I teach?’ and ‘How do I teach
it?’ come to matter. First we look to recognize what our students bring to the
table and then we encourage them to draw upon their own traditional and
nontraditional experiences with music making, teaching, and learning. We
think about what and how we do what we do in relation to the who because
we appreciate that it’s the students that are changing in today’s classrooms.”
Gregory DeNardo, now the division’s senior faculty member and a professor of general music, elaborates on that theme, saying that the “who-ness”
matters more than the “what-ness” in finding ways to bring musical experiences closer to youngsters. Assistant Professor Jeananne Nichols, the newest
faculty member in music education, riffs on the mission: “We extend this
outward as we prepare students to teach, passing on this value. We encourage them to think about who they teach, to learn about the communities
they serve in, and consider how music learning can happen in meaningful
ways wherever they are.”
“Every student brings to the classroom a different background, skill set,
and understanding of education,” says David Allen, Director of Outreach
and Public Engagement. “I tell student teachers that the time has come to
design an IEP, an individual education plan, for everyone.”
Bridget Sweet, who specializes in choral music and has had extensive
experience working with middle school students, characterizes the approach
she takes as different from how she was taught: “Many choral directors in
the past approached teaching in autocratic ways; they were the ‘sage on the
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Music education class ca. 1950.
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stage,’ and students followed their direction. I prefer to be a ‘guide on the
much scarcer. You had to know people who owned recordings, and you were
side.’ Although I come to rehearsals with a plan and ideas for the experilucky if you had the opportunity to listen to a wide variety of music. Today,
ence, I work hard to facilitate the growth of these ideas with the students
students have virtually instant access to everything through online sites and
during rehearsals. As a result, singers gain a sense of ownership and are more
services. They have much more breadth of opportunity, although they may
engaged and connected with the process of music creation. When I work
in fact develop more narrow tastes, listening deeply to a single style of music.
with choral music education students
They have spent and continue to spend more
at UI, I urge them to consider what
time with media than did students 20 years
outcomes they desire for their future
ago; the Kaiser Foundation reports that on
students. I ask them, ‘Do you want
average 8- to 18-year-old students spend
your students to perform exactly as you
seven-and-a-half hours every day with media,
instruct? Or do you want them to gain
a third of that time in multitasking, and 2.5
musical independence and understandhours of it with music. The issue for our proing through your rehearsals?’ I often ask
fession is how to rethink the role of music
future teachers: ‘Why is this important
education for students who have grown up
to the students? Why should they care
with these changes.” about this? What is meaningful about
Asked how he and his colleagues deal
this for them?’”
with university students who have had
Growing up in a digital age, stu- Thibeault with Homebrew Ukulele Union after a performance at the Beckman
only limited acquaintance with Western
Institute. Photograph by Robert K. O’Daniell.
dents today not surprisingly bring quite
art music in their listening experiences,
different experiences to their music class lessons, both at the university and
Thibeault responds, “Much of this is covered through their experience with
pre-college level, than did their parents and grandparents, something all the
ensembles. Our bands, choirs, and orchestras include great literature, and
faculty seem to agree on. Assistant Professor Matthew Thibeault notes the
the act of making this music often increases the interest of students. Our
“substantial cultural change” and continues: “Students today have grown up
university students also participate in more diverse ensemble offerings here
with an overabundance of content. When I grew up in the 1980s, music was
at the School of Music, from Professor Davis’s Black Chorus to Professor
“THE DIFFERENCE BETWEEN MUSIC EDUCATION TODAY AND
THE WAY IT WAS PRACTICED 20 OR 30 YEARS AGO IS THAT
WESTERN ART MUSIC IS NO LONGER THE SOLE FOCUS.”
Buchanan’s Balkan Ensemble.” UI students participate every semester in
Bergethon, and Richard Colwell. Under Professor Charles Leonhard’s leadvarious ensembles, including choral and instrumental ones, and they get
ership, the division began a doctoral program at the UI School of Music,
individual voice or instrument instruction. They take music theory and
awarding its first doctorate degree to Robert House in 1955. By 1995 some
music history, which Thibeault says can also get them excited about Western
300 individuals had earned doctorates with an emphasis in music education
musical culture.
at the school. The Music Education Division now offers both the Ed.D. and
“Absolutely, we believe that all music has potential importance and
Ph.D. Among recently retired faculty members, Dr. Eve Harwood and Dr.
value for students,” Thibeault continues. The difference between music
Joe Grant were hired during Leonhard’s tenure. The late Eunice Boardman,
education today and the way it was practiced 20 or 30 years ago is that
who had earned her doctorate here, chaired graduate studies in music educaWestern art music is no longer the sole focus. For much of the history of
tion beginning in 1989, with Grant chairing undergraduate studies. During
music education in the United States, the emphasis was to improve the genBoardman’s tenure, technology-based music instruction was first taught by
eral level of culture through a focus on Western classical music. Largely as a
Dr. David Peters, and coursework in the psychology of music was added.
result of the civil rights movement, the Eurocentric perspective is no longer
A summers-only degree was one of the most popular programs develthe protagonist in music education. So, classical music, undoubtedly a cenoped for music educators, allowing teachers to pursue a master’s degree
tral achievement of humanity, takes its place alongside many other tradiover three summers of study while teaching during the school year. The
tions that are now seen as also having importance and validity. The trend
program still exists as one of three options (the others are studying during
has been toward broadening offerings, but we’ll never stop believing in the
the usual academic year and earning an M.M.E. degree with Initial Teacher
importance of Mozart. Certification), with the distinction that it is the regular faculty who teach
“We also have adapted to some of these changes in our students’ expein the summer program, keeping the same standard as during the academic
rience and interests, for instance, by
year. In the 1990s the music educafocusing more on music technology.
tion faculty also undertook to expand
We make sure also to include a broad
the emphasis on multicultural comvariety of interesting music in the
ponents in the curriculum. There
courses that we teach, to model for
were 23 doctoral students then in
them music education that connects
residence, with another 18 students
and synthesizes ideas across a variety
off campus but continuing to pursue
of musical cultures.”
their doctorates; at that time there
It is not only the breadth
were also 205 undergraduate students
and diversity of repertoire that has
in music education. This, Boardman
changed in today’s music education
noted, made the program in Urbana
courses, however. A second area that
one of the largest in the nation,
distinguishes today’s Music Education
although the numbers were somewhat
Division from that of years past is its
lower than during the 1970s.
Eunice Boardman guiding elementary students in their musical growth.
concern with diversity in the populaBoardman was a proponent of
tions it serves and how it goes about meeting the diverse educational needs
a “constant interaction between professional preparation as a musicianof all students. Bergonzi calls it an ecosystem: “We want all our students to
teacher-educator and development as a scholar-teacher.” She also taught and
understand that the new ecosystem for music teaching and learning involves
supervised student teachers at the Childhood Developmental Laboratory at
not only themselves as excellent musician-educators but also schools and
Holy Cross Elementary School. In 1995 she stated: “It is my conviction,
students of all types. It extends to music learning that occurs formally and
one I trust that is shared by other members of the faculty, that this interacinformally—both on- and off-grid. We operate under this generous contion is the essential component of advanced study and that synergetic balception of music education because this is the only way that we and music
ance between these components is what has historically made this program
education can remain relevant in today’s societies.” Bergonzi is professor of
unique. When a synthesis of theory and practice occurs, the professional
conducting and music education/strings and conducts the UI Philharmonia
music educator is able to construct curricula and engage in effective instrucOrchestra.
tional practice that is firmly grounded in the theoretical concepts on which
Today’s Music Education Division has evolved from a long dissuch practice must be based.”*
tinguished history as a center of teacher training. A few generations ago
That association between the practice of music education and its theothe faculty included recognized professors such as Grace Wilson, Bjornar
retical or research background went back to Charles Leonhard’s (1915-2002)
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“WE ARE BRINGING TOPICS TO
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and Richard Colwell’s founding of the Bulletin of the Council for Research in
As might be expected, technology is much more central to music eduMusic Education (known affectionately by the acronym CRME) in 1963.
cation today than 20 years ago, becoming an innate part of culture through
Housing the publication and offices of CRME continues to bring recognidigital media, and the focus has shifted since the early years when computtion to music education at UI for its research activities. Faculty members
ers were new instruments and programmers were first developing software
have also achieved recognition for plentiful publications. The textbooks by
to teach theory and notation. Thibeault says, “The classroom, however, is
Leonhard, Colwell, Boardman, and Mary Hoffman achieved wide adopevolving much more slowly than society. Adults and children today know
tion across the country. The late Professor Marilyn Zimmerman, a specialthat they can rapidly gain access to ideas, knowledge, content, etc. We are
ist in early childhood education, was also a
able to rapidly organize our lives, and the
highly respected editor of the Bulletin and
classroom needs to embrace some of these
an adored teacher. DeNardo (a former sturicher ways of learning and knowing and to
dent of Eunice Boardman from her years as
give students more opportunities and aveeducator and administrator in Wisconsin)
nues by which they can have deeper, fuller
was editor of the Bulletin for ten years until
lives.
spring 2011. The publication will be availThibeault, who has recently completed
able online as well as in print now that the
editing a section on media and music educaUniversity of Illinois Press will be publishtion for the forthcoming Oxford Handbook
ing it. Professor Emeritus Eve Harwood,
of Music Education, says, “My current
who has been a leader in early childhood
research focus has been on understanding
education, has returned to serve as interim
ways that the music education profession
editor as well as undergraduate advisor in
can respond to changes in practice brought
the Music Education Division.
about through media and technology. Even
Bergonzi says that the division continstudents who play unaccompanied cello
ues to be connected to research, “but that
suites by Bach are making music in a world
is not enough. We constantly strive to conwhere most experiences come through
nect theory and research to practice. We
recordings, and this has profound conseare bringing topics to undergraduates that
quences. Audiences are more likely to know
used to be only in the graduate courses.”
the pieces, audiences and performers are
The division continues the practice of placmore likely to have an expectation for a high
ing undergraduates in the field, including
level of performance, and the audiences may
the Childhood Developmental Laboratory.
bring expectations for an interpretation
Allen uses videos early on to supervise music
shaped by listening repeatedly to a single
education students in their field experience:
cellist such as Yo-Yo Ma, Rostropovich, or
“We do a lot with videos sent back to us by
Casals. On the other hand, audiences may
the students. The role of the site visit has Music education senior Whitney Zu works with 4th grade students as part have less experience connecting to a perof her student teaching experience.
changed a bit because the visit doesn’t serve
former in a live setting because their musias the first time we see the student teach in the school setting.”
cal-social habits developed around recordings. So music educators must
“We have expanded on the Illinois tradition of having methods courses
think about the unique contribution that live performance makes and build
meet in relevant field settings so that by the time our students approach
on those unique contributions. In my research, I have pursued the idea that
student teaching they will understand and have had experience in teachsound recordings led to radical changes in music, musician, and audience,
ing,” Bergonzi says. “We build upon and value that our undergraduates have
changes that have resulted in what I call a postperformance era.” come to us with significant experience in music education—true, as learnThis postperformance world, Thibeault says, has led to recording pracers, not teachers—but we value the fact they have learned from excellent role
tices shaped by the “unprecedented abilities to edit and manipulate recordmodels (in many cases UI alumni new and old) and have been inculcated
ings from ProTools and GarageBand to AutoTune. It has led to listening
into what an excellent music education classroom looks and feels like for
habits shaped by music experienced through databases that deconstruct
students.”
albums and make recommendations through statistical referral. It has juxtaposed concerts with the ability to listen to nearly everything ever recorded
“PART OF MY PHILOSOPHY IS TO CONNECT THEORY TO PRACTICE
AND TO GET MUSIC EDUCATION STUDENTS ENGAGED IN THE
FIELD AND EXPERIENCING THE CONCEPTS THEY ARE LEARNING.”
Chris Brown Photography
at home on YouTube, Spotify, and Pandora. And music educators have an
DeNardo explains that for these children with hearing deficits, and
opportunity to help shape these changes, to both embrace and critique
even for normally hearing youngsters and many entering university stuthem.”
dents, it is a revelation to see how music is made, how it is produced acousA clear emphasis among the Music Education Division faculty memtically rather than digitally generated. He says that children volunteer to
bers is the sense of a musical community and that participating in music
be paired with the hearing-impaired CHAOS students of their age to help
making is central to learning. Professor DeNardo has been one of the more
them acquire language skills once mechanical means have improved the
progressive faculty members in fostering community outreach on and off
youngsters’ capacity to hear. Among these volunteers are young children of
campus, both with university and public
D.M.A students at UI.
school populations. That DeNardo emphaA believer in experiential learning,
sizes community is no surprise, given his
DeNardo, who also teaches “Music in the
12 years as consultant to the Milwaukee
Elementary School” explains his approach:
Symphony Orchestra. As a young pub“Part of my philosophy is to connect thelic school music teacher, DeNardo started
ory to practice and to get music education
bringing youngsters with severe disabilities
students engaged in the field and experito Milwaukee Symphony concerts. After he
encing the concepts they are learning.”
began teaching in Bowling Green, Ohio,
A congenial and communicative person,
the Milwaukee Symphony’s manager called
he finds it natural to foster among his
on him to begin an assessment of student
music students his affinity for community.
learning that might occur from attendance
DeNardo is pleased that graduate students
at the orchestra’s youth concerts. DeNardo
in performance are taking music educanot only formulated an assessment protocol
tion classes. For example, Marcelo Boccata
but also developed a series of in-school perKuyumjian, a D.M.A. jazz student from
formances funded by the NEA called Arts in
Brazil, is learning to design lesson plans
Community Education (ACE). A variety of
that involve teaching jazz and improvisasmaller symphony-member ensembles went
tion. The fruit of his efforts this fall 2011
to schools and engaged youngsters in comis three Urbana public schools that are
posing, performing, being listeners, and even
including his jazz unit. DeNardo comin conducting. DeNardo’s doctoral students
ments, “It is important that children hear
then reviewed and evaluated these projects.
Ella Fitzgerald, for example, and other jazz
One of DeNardo’s current projects
greats, that they become acquainted with
is sending students for field experience to
the founders of jazz and understand the
the Carle Hospital’s Auditory Oral School
idea of improvisation. And I like that per(with the startling acronym CHAOS). An
formance students also have opportunioutgrowth of a course he teaches called Allender focuses on ways to improve individual’s musicianship.
ties to be connected with public schools.”
“Diversity in the Music Classroom,” the field experience involves special
Many music education students take advantage of the SOM jazz faculty, and
learning populations as part of the broader diverse student body. Both music
they can also take a jazz pedagogy class that is counted in the Ed.D. cognate.
education majors and performance majors from the UI’s School of Music
DeNardo continues the practice of teaching started by Boardman at
are working with hearing-impaired youngsters, just one of the populations
the Children’s Development Laboratory (CDL). He explains that students
of special learners that students learn about. One of the participating uninow have three venues for field experiences: elementary general music grades
versity students is Jackline Madegwa, a young woman from Kenya who is
1-5 (at three Champaign and three Urbana schools), preschool (at the CDL
working toward a D.M.A. degree in voice. She describes how excited the
on campus), and Carle’s Auditory Oral School. “Early fieldwork is a crucial
youngsters, some with cochlear or Baha implants, are as they hear and feel
component of teacher preparation,” says Jeananne Nichols, who this fall
instruments, sing, and engage with music. “They can feel the vibrations
redesigned the structure of the field experience for students in elementary
coming from the cello itself! They can hear clarinets for the first time. Our
and middle school instrumental methods. “Instead of pre-service teachtrumpeter made neighing sounds, and we sang nursery rhymes and ‘O
ers going to one school as a large group to observe a middle school band
Danny Boy’ with them.”
director, getting to practice-teach only twice during the semester, the class
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“I HELP STUDENTS INTERNALIZE WHAT
THEY SEE ON THE MUSIC PAGE AND THEN
PRODUCE THOSE SYMBOLS AS SOUND.”
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is divided into teams of four or five students who are out in the schools
Union that has performed at campus venues ranging from The Blind Pig, a
twice a week. Our students have the opportunity to learn from several highly
local pub, to the Beckman Institute for Advanced Science and Technology.
accomplished teachers whom I invited to ‘take ownership’ of this field expeCounteracting the trend among performers (driven, Thibeault says, by the
rience. They have responded enthusiastically by assigning the students to
past century’s recorded examples) to strive for perfection, this ensemble has
work with small groups or individuals. Instrumental music education stuno pretenses of perfect performances. Instead the music education students
dents change teaching sites several times during the semester so that they can
learn how possible it is to develop a sense of community and a less stressful
work with a wider variety of students.”
experience in making and sharing music.
Something as basic as reading and writing music notation continues
Solya, who directs the Women’s Glee Club, shares some of Thibeault’s
to be a struggle among general music students, DeNardo admits, and if it
goals. “The Women’s Glee Club is open to all female students on campus
is greater these days than in the past, he surby audition,” she says, “and it presents some
mises that may in part result from a highly
musical challenges to non–music majors as
mobile society coupled with more limited
well as to music education students.” Aware
music class time these days (generally twice
of the changes among students brought
weekly for just a half hour). He recommends
about by technology, she, too, fosters a
“visual mediators” to his music education
sense of community and a less stressful
classes, that is, using pictures of sounds and
environment. Describing her approach to
durations, as an intermediate step in the
the ensemble, she says, “I try to make the
path from hearing to music symbols, based
Women’s Glee Club also an island of secuon solfège or a number system. These can
rity, a safe haven to feed the soul and spirit
be augmented with tactile-kinesthetic assoas a relief from all the running around stuciations. So many concepts have to be expedents do in their usual activities. It’s a chance
rienced hands on,” he says. “A lot of learnfor us all to slow down from a fast-moving
ing disabilities today result from students’
society, to enhance our days in a digital socideficits in being able to spontaneously think
ety. Our repertoire isn’t a full break from the
of and use strategies that help one learn and
past; I still introduce classical music, but
correct.”
adjust to students as they are today.”
Andrea Solya, Clinical Assistant
It is remarkable, at some level, that
Professor of Music Education and
in addressing the who in their students of
Coordinator of Aural Skills, agrees with the
today, Thibeault and Solya are continuing
need to develop music reading skills. A masthe spirit of musical participation on camter teacher of Kodály at summer conferences,
pus that dates back more than a century.
she oversees all levels of aural skill developBy 1894 there was a University Mandolin,
ment—what used to be called ear training—
Banjo, and Guitar Club as well as a Glee
on campus during the academic year. Using
Club. But the earliest large music ensemble
principles from both Robert Schumann†
at UI was a military band, already photoand Zoltan Kodály, she says, “I help students Master’s student Evelyn Lee teaches the importance of proper instrument
graphed in 1892. Nichols, who teaches
height.
internalize what they see on the music page
future school band directors, appreciates
and then produce those symbols as sound. Through the internal skill of
that longtime tradition: “My focus at UI is both on preparing undergradusinging, they connect symbols and sound; it is rather a new concept for the
ate students to teach band and working with graduate students on research.
instrumentalists especially since playing an instrument is external.”
Both of these emphases have long, cherished roots at Illinois, and I am
Strongly espousing an experiential connection to music, Thibeault
thrilled to be a part of this university and to contribute to its continuing
has for three years taught a course titled “Designing Musical Experiences”
tradition of excellence in music education at both the graduate and underthat uses ukuleles. Students build their own ukuleles from a kit, working
graduate levels.”
together as sort of an assembly line. They learn to play the ukuleles, create
The Music Education Division continues to offer a broad array of
their own songbooks, and then share their favorite pieces with others in the
required and elective courses in general education, teacher training for
group. They have formed an ensemble they call the Homebrew Ukulele
elementary through high school music programs, conducting, educational
“TIMES HAVE CHANGED FOR MUSIC EDUCATION AND WE
ARE MEETING THE NEW REALITY. WE ARE NOT LOCKED AWAY
BEHIND SOME DOOR PINING FOR THE ‘GOOD OLD DAYS.’”
Bergonzi leads a master class clinic for a high school orchestra, one of the many groups that come to campus each year.
methods, and ensembles, all geared to students today. “There are stigmas
surrounding every grouping of students: elementary, middle school, high
school, and college,” Sweet notes in describing her interest in teaching
future educators about working with middle school students. “Teaching
middle school choral students seems to create fear in young teachers, but in
reality these young adolescents are no quirkier than any other population.
It’s just a matter of learning about the quirks and using them to advantage.
Voice change isn’t scary if you learn how to work with it, just as middle
school emotions and mood swings don’t have to be scary if you learn how
to harness that extra energy in your classroom. More than anything, middle
school students want to be treated like adults. They are making the transition from child to adult, and helping them navigate this transition can be
so rewarding!”
Student chapters on campus offer an additional venue for professional
training along with social interaction. Solya has started a student chapter of
the American Choral Directors Association at the SOM. “I want to restore
their face-to-face communication and sense of community.” Similarly,
Bergonzi has continued the UI tradition (begun by Paul Rolland) of sponsoring a student chapter of the American String Teachers Association.
Allen talks about an evolution he envisions in his work at UI in the
future: “We are on a constant trek to remain relevant when contemplating
our students. What’s in it for them? I ask myself this often when considering
new plans or programs for Illinois Summer Youth Music (ISYM) or clinical
experiences for our student teachers.”
“Times have changed for music education,” Bergonzi reiterates, “and
we are meeting the new reality. We are not locked away behind some door
pining for the ‘good old days.’ In many ways, our view of the realties for
which our students need to be prepared is no longer limited to brick-andmortar, K-12 school buildings. We see the possibilities within the traditions
passed down to us but also the possibilities in adding to those traditions to
better address the needs and resources of 21st-century schools and music
studios. The most forward thinking educators, including many UI alumni,
have transformed what happens in band, orchestra, and choral education.
Others (like current M.M.E. student Nick Jaworski) have expanded what
is meant by music education in ways that reflect today’s students and how
music is created, performed, and distributed. We intend to honor the traditions, stay relevant to today, and be prepared for the future.”
*From Eunice Boardman, “UI Graduate Programs in Music Education,” Music (Summer
1994): vol. XIV, no. 3.
† See Robert Schumann, On Music and Musicians. New York: McGraw-Hill, 1964: 31.
Anne Heiles, who earned a D.M.A. from the University of Illinois, has taught at UIUC as a
visiting professor in the Music Education Division. She has also taught at the University
of the Pacific, California State University, and Northwestern University; and she played
viola as a member of the Detroit Symphony and was a regular substitute in the Chicago
Symphony. She has written three books and dozens of articles, one of them winning a
national award for educational presses. She is a past national president of the American
String Teachers Association.
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Brothers,
The Illinois Varsity Men’s Glee Club at 125
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Sing On!
By Thomas H. Schleis
T
he choral salutation “Brothers, Sing On!” by Edvard Grieg
serves as an invitation to alumni and friends of the Varsity
Men’s Glee Club (VMGC) to return to campus for the 125th
anniversary of the ensemble in 2012. Grieg’s powerful song has
been sung by generations of glee clubbers, and it is a symbol of the joy and
fellowship that makes the VMGC such an important part of campus life.
The anniversary celebrations will begin on Thursday, April 26, 2012,
at 7:30 p.m. in the Foellinger Great Hall of the Krannert Center for the
Performing Arts with a performance by the male a cappella group, Chanticleer,
based in San Francisco. One of its members, Ben Jones, is an alumnus of
both the VMGC and The Other Guys. On Friday, April
27, a workshop with Chanticleer, a group
always willing to work with choirs, will be
held, and on Saturday, April 28, at 7:30
p.m., again in Foellinger Great Hall, the
125th anniversary concert will be sung.
The men’s glee club was formed in
1886 under the title of the Apollo Club
and was an outgrowth of the Philomathean
Literary Society. There were many such literary societies on campus, and they included
music and poetry readings among their activities. Somewhat later, the name of the Apollo
Club was changed to the Varsity Men’s Glee and
Mandolin Club, and in 1893 the club toured
with the Guitar Club to Danville, Illinois.
Following the appointment of Walter Howe
Jones as the first director of the School of Music in
1895, the club flourished. William L. Steele, who
held the post of band director under Jones, wrote
the following of him: “Walter Howe Jones was a
musician to his finger-tips. It was my privilege to hear him play, more
times than I can remember, in his studio in the old Main Building after
everyone else had departed…. He gave us more than we ever gave him. His
love for his work was hardly greater than his love for his students. Especially
did he hold his glee club as the apple of his eye.”
As the years went by, the club’s name changed to the Illinois Varsity
Men’s Glee Club, and the group averaged about 50 members drawn from
across the various colleges and disciplines on campus. The club toured the
state of Illinois, serving as musical ambassadors for the university. In 1933,
for example, the club toured the eastern United States, making stops in variAbove: Perfomance program cover with Director Paul Young.
ous cities from Florida to Maine and in Canada as well. The culminating
event of that tour was a performance at the Chicago World’s Fair.
Membership declined during World War II, owing to the need for men
in uniform. However, with the end of the war, men taking advantage of
the G.I. Bill came to campus in greater numbers, and an exciting period of
growth under the leadership of Paul Young brought the VMGC to a new
level of achievement.
Paul Young arrived on campus in 1949 to direct the Choral Division.
He described his approach to the glee club with these words: “The vitality and vigor of a men’s chorus carries over to the conductor and back to the singers and in large measure constitutes
the thrill the audience gets from hearing a fine men’s glee
club.... A performance by a first-class men’s glee club will
inevitably stir the emotions and arouse the greatest audience response.”
Young was an energetic man (one of his students
recently reminisced, “He reminded me of the Energizer
Bunny!”). His programs were rich and varied, often featuring faculty soloists as guests. A program for an instate tour of Illinois in 1956 included music by William
Byrd, Randall Thompson, Benjamin Britten, Aaron
Copland, Samuel Barber, and Vaughan Williams.
That program also included a song with a most interesting title: “Marry A Woman Uglier Than You.” In
the mid-1950s, the group under Young appeared on
Ed Sullivan’s nationally televised Toast of the Town.
In 1957, Harold Decker came to the campus
to direct the Choral Division. In his 33 years at
Illinois, he made the Choral Division one of the
premiere choral institutions in the country, among his
achievements being the development of the first DMA program designed to
train musicians in the art of choral conducting at the highest level. He also
played a role in the creation of the American Choral Directors Association,
and in 1997 he was awarded its highest honor, the Robert Shaw Award, in
recognition of his service to choral music in this country.
As part of his duties, Decker prepared the VMGC for one of its most
important tours when in 1958 the U. S. State Department invited the club
to perform at the U. S. Pavilion at the World’s Fair in Brussels, Belgium.
The VMGC was the only male chorus to receive such an invitation. Raising
over $50,000 for transportation costs, the club was aided by the Lions Club,
the University of Illinois Foundation, other campus organizations, and local
continued
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business and professional groups. Touring two
for their superb diction, blend, and richness of tone. Students so enjoyed
weeks in Europe, the club participated in the
singing in the VMGC that they would often come back for graduate study
Belgium International Choral Festival and also
at Illinois so they could sing with the club again. One such student was
performed in Munich, Heidelberg, and Paris.
Brian Claricoates, who sang with the VMGC from 1973-76 and again from
In 1959, the VMGC performed at a cel1979-81.
ebration honoring Lincoln’s 150th birthday and
In an article Claricoates wrote for the Spring 2010 issue of Gaudeamus,
also began the practice of performing in joint
the newsletter of the VMGC, he described his time as president: “I was
concerts with other glee clubs for the annual
then elected president my senior year, which was somewhat of a hard sell,
Dad’s Day Concert on campus. During the
as I was studying to be a high school chemistry teacher and knew I would
Harold Decker
1960s, clubs from Michigan, Northwestern,
be up in the suburbs for the first half of my second semester. Like any good
Wisconsin, Purdue, and Notre Dame performed with the VMGC. There
politician, I promised I would be at every rehearsal, even during my student
was always a bit of friendly rivalry at these events, enhanced from the
teaching.... I actually made it to about half.” After teaching high school for
1970s by the traditional singing of “The Big Ten Medley,” with alumni of
three years, Claricoates “came back to the U of I to get an MBA. I chose U
the VMGC invited to join the present group on the stage. Currently, the
of I for the sole reason that I wanted to be in the VMGC again.”
Women’s Glee Club performs with the VMGC at the Dad’s Day Concerts.
Another development during Olson’s first year with the VMGC was
Decker again toured Europe with the VMGC in 1961 with stops in
the start of The Other Guys (OGs). Again, Bruce Johnson, one of the
Edinburgh, Bergen, Oslo, Stockholm, Copenhagen, Lübeck, Hamburg,
founding members, provides this insight: “The Other Guys were estaband Berlin. Guest artists for this tour
lished during Olson’s first year (with
included Duane Branigan, director of
his blessing) by eight of us who were
the School of Music, and Bruce Foote,
in the club at the time. The instigaprofessor of voice. Branigan accompator was Chris Parker, a grad student
nied Foote in selections appropriate for
who had been in the Michigan Glee
each region on the tour—in Norway
Club while an undergrad and had
and Sweden, music by Grieg and
sung in that group’s small ensemble,
Sibelius was sung, while in Germany
The Friars. Chris taught us many of
the music was by Brahms and Richard
the Friars’ songs, and we ‘borrowed’
Strauss. The remainder of the program
others from recordings from a couple
was drawn from the rich repertoire
of a cappella groups at Yale (including
of music for male chorus from the
The Whiffenpoofs). After a couple of
Baroque period to the contemporary,
years, the OGs started making their
with a little bit of Broadway thrown in
own arrangements—and the rest is
for good measure.
history.”
In 1967, Decker passed on the Harold Decker reahearses with the VMGC, circa 1959.
One of the most popular songs
reins of the VMGC to John Leman,
sung by The Other Guys is Johnson’s
who had served as his assistant conductor. Leman served for one year, and,
“The Morrow Plots Song,” a ballad about the reasoning behind building the
in the fall of 1968, William Olson became the director of the VMGC, a
Undergraduate Library at Illinois underground (“You can’t throw shade on
position he held until his retirement in 1996.
the corn!”). No VMGC concert is complete without this delightful piece.
William Olson had his plate full his first year
Olson was always committed to in-state tours by the VMGC, and he
as he prepared the VMGC for its 1969 tour to
tried every four years to take the club on a tour to Europe. To help cover
Europe. Bruce Johnson, who was a member that
expenses, a number of alumni decided to establish the William W. Olson
year, remembers the time fondly: “My fondest
Travel Fund in 1994. The fund is an endowment created and controlled
memories of VMGC involved our 1969 European
by the VMGC and managed by the University of Illinois Foundation. The
tour, a courageous undertaking for Bill Olson after
fund reached its goal of $100,000 dollars in 2005, and the interest is now
only his first year as director. We sang concerts in
available for authorized travel. The VMGC has thus been able to continue
France, Switzerland, and Italy over about a two- or
its tradition of European tours every four years (2000, 2004, and 2008).
William Olson
three-week period, and the following school year, we
Olson stepped down from his position as assistant dean for student
made an LP recording featuring much of the music from the tour.” The
affairs in the College of Fine and Applied Arts in 1992, but he continued to
VMGC also met up with the Concert Choir in Vienna during that tour and
direct the VMGC until his retirement in 1996. His final concert was a celeparticipated in a symposium devoted to the music of the Viennese classical
bration of the man and the many lives he touched through the gift of music.
composers.
Andrew Louis Goldberg was president of the VMGC at that time, and he
Olson had an outstanding baritone voice, and he was able to impart his
wrote about it in the Spring 2011 issue of Gaudeamus: “One of my fondest
love of the voice and singing to his charges. His groups were always known
memories of Club was the April 1996 Spring Concert and all the week-
end activities around it—
Bill Olson’s send-off into
retirement. ‘Andrew, we’re
going to have a big concert, sing lots of favorites, invite lots of alumni
on stage, and then head
off to the Jolly Roger’ [a
restaurant in downtown
Urbana]—someone said
to me.”
Goldberg continues:
“That weekend in spring
Olson at VMGC reahearsal, February, 1975.
Photo courtesy of Marjorie Olson
of ‘96 was nothing short
of magical. More than 200 alumni arrived for a secret rehearsal (unknown
to Olson) on the Saturday afternoon of the concert in the Music Building
Auditorium. All alums had received sheet music for ‘We Will Still Sing Your
Songs’—a beautiful song dedicated to Bill Olson, written by Marty Sirvatka
and Mike Ferguson.”
The evening was very special indeed. Goldberg writes: “The concert
itself was a piece of art, with two acts: the first act was a Bill Olson special—
a concert of his greatest hits. One highlight was when
Olson turned to the audience and spoke (he rarely did
this between songs)—he announced that the next song
was for Marjorie, his wife. It was ‘Down by the Salley
Gardens.’ And then the alumni came up and more fun
continued! A surprise visit from the Marching Illini;
the world’s biggest Q-tip; an original painting collage
of Olson; ‘We Will Sing Your Songs’; and the final
time the ‘Big Ten Medley’ truly was ‘Ten’. And then
it was off to party, where we all celebrated an amazing
career with singing, laughing, and, of course, drinking.
Months later [September 1996], we learned that Bill
Olson had passed away. I like to believe that he lived his
life for us, the men of VMGC, and it was only because
he felt his work was complete, and that he knew we
would be in good hands with Barrington Coleman,
that [it] was ok for him to move on.”
Barrington Coleman
Barrington Coleman came to Illinois from Illinois
Wesleyan University, his alma mater, where he was professor of voice and
conductor of the Limited Edition Jazz Choral Ensemble. Holding additional degrees from Northwestern and Juilliard, Dr. Coleman embraced the
traditions of the Olson years, but also brought his own blend of classical and
jazz training to bear on the development of the VMGC.
While maintaining the traditional structure of the VMGC concert,
including a first section devoted to repertoire from the broad spectrum of
music for men’s voices and a middle section featuring The Other Guys,
it was the third section, devoted to more light-hearted repertoire, where
change was most apparent.
In addition to possessing a lyric tenor voice, he is a gifted jazz pianist and serves as director, arranger, pianist, and vocalist for the Barrington
Coleman Trio. Often, the trio would join the VMGC in some selections
from the popular repertoire. In addition, Coleman would also bring his
theatrical know-how (he has sung at Covent Garden in London, La Fenice
in Venice, and at the Glyndebourne Festival) and stage some numbers, especially selections from American musical theatre.
Touring has continued under Coleman’s direction. His first tour in
1998 included stops in Illinois, Michigan, and Indiana. There was a joint
concert with the University of Michigan Men’s Glee Club and also a visit
with the Notre Dame Men’s Glee Club. Europe beckoned in 2000 with a
tour whose itinerary reflected Olson’s last tour to Europe in 1989. There were
concerts in Rome, Assisi, Florence, Venice, Innsbruck, Salzburg, Strasbourg,
and Paris. Singing at St. Peter’s in Rome that year was especially significant
since it was the millennial Jubilee year of the Roman Catholic Church.
In 2004, the VMGC toured Europe again, making stops in Wales—a
country known for its outstanding male choruses—England, and France,
where the club sang at a ceremony commemorating the 60th anniversary of
D-Day. After singing at Rouen Cathedral, VMGC performed an evening
mass at Notre Dame in Paris. Myron Rahn, writing in the Fall 2010 issue of
Gaudeamus, remembers an impromptu concert at the Eiffel Tower: “It was
a quiet, peaceful night. Nobody was really directing us. We just sang and
entertained numerous people also out wandering the city in the late evening.
I can’t think of too many perfect moments in life, but singing on that night,
with the Eiffel Tower illuminated in the background,
with some of my best friends, that was perfect.”
In 2008 the club’s tour involved stops in
Munich, Salzburg, Lucerne, and Paris (another
mass at Notre Dame, a concert at the Madeleine
Church, and an outdoor concert at the Luxembourg
Gardens). The 2012 tour will be over spring break
in the U.S., since all efforts are being directed to the
125th anniversary weekend celebration on campus at
the end of April.
Celebrating 125 years of brotherhood and tradition, the anniversary concert will begin with the
VMGC entering single file and singing, “We are
marching for dear old Illini.” Once in place, the president of the club will conduct the traditional student
song “Gaudeamus Igitur,” and Coleman will make
his entrance. The concert will end, as it always does,
with “The Big Ten Medley” arranged by William
Buhr. This time there will be twelve tunes since Nebraska is now a member
of the Big Ten, with the crowd rising to its feet as the Illinois fight song is
sung. The Illinois state song will be followed by “Hail to the Orange.” As the
VMGC files out through the crowd and up into the Foellinger Great Hall
lobby, ending as it began with the singing of “We are marching for dear old
Illini,” another generation of brothers will have shared their joy with the gift
of song—“Brothers, Sing On!”
Thomas H. Schleis is manager and principal coach of the Opera Program at the
University of Illinois. He gratefully acknowledges the assistance of Barrington
Coleman, Andrew Louis Goldberg, B. Suzanne Hassler, Bruce Johnson,
Marjorie Olson, Ian Michael Pozdol, Kevin Rockmann, and John Wagstaff in the
preparation of this article.
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by Melissa Merli
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Photo by Chris Brown Photography
Y
ou know how some
Herman Band. I was listening to less jazz-rock
him. “I did a lot of Broadway shows, and I don’t
musicians make jokes
and more jazz,” he said.
do well with repetition,” said Pugh, who for
about
certain
instru-
Now, of course, Pugh appreciates, not to
more than 25 years, before coming to the UI
ments like the banjo, tuba, and trombone.
mention knows well, the Dan’s melodic hooks,
in 2003, was the go-to trombone man in New
Steely Dan jokesters and founders Walter
intricate harmonies and time signature, and
York. “Some tunes Steely Dan does at every
Becker and Donald Fagen boasted of “no
cryptic—some say sardonic—lyrics. “Walter
show, but I’m still surprised that the end of the
trombones” in their touring band. Jim Pugh,
and Donald were both English majors at Bard
two-and-a-half hour show comes so quickly,”
the distinguished professor of jazz trombone
College,” Pugh said. “They enjoy language and
he said. “It speaks to Walter’s and Donald’s
at Illinois, made them change their
friendship and leadership. It speaks to
mind. They asked him to join their
how good the band is and how good
touring band. That was in the year
the music is.”
2000. “All of a sudden I’m on tour
The music is definitely not the
with them and then I’m on the next
standard jazz form, said Pugh, who
tour and 11 years later, they can’t get
also writes classical music, in addition
rid of me,” Pugh joked.
to jazz. “Whether it’s the combination
The most recent one, “Shuffle
of chords and bass lines or the clarity
Diplomacy,” took Pugh to 51 venues
of the tune, the roles of the differ-
in the United States, among them
ent instruments are so well-defined.
Tanglewood, and then a dozen or
Pugh with Steely Dan ‘s tour band.
so venues in Australia and New Zealand. Not
playing with language so much. You can see
new ground to Pugh. He toured Down Under
that in their lyrics. They make obscure refer-
And with the horns—Pugh’s trombone,
before—twice on his own, once with Steely
ences, literary and poetic. They get together,
two saxophones and one trumpet—many
Dan, and another time with Chick Corea’s
and it’s almost like listening to two great jazz
motifs and counterpoints play against the har-
“Return to Forever” in the late ‘70s. Back then,
players. They both try to build on what absur-
monies and the melodies, the professor said.
Pugh admits, he was “not all that familiar” with
dity the last one said and then push the absur-
However, Pugh doesn’t have a lot of room for
Steely Dan’s music, a distinctive blend of jazz,
dity. It’s awfully fun to watch.”
improvisation. “It’s usually fairly contained
Lyrically the band’s certainly distinctive, again by the poetic density of the lyrics.”
rock, pop, and blues. “When they were making
Pugh also finds it fun as well as challeng-
within the composition,” he said. “Many of the
their albums in the ‘70s, I was in the Woody
ing to play the music, something that surprised
continued
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“THEY START OUT WITH HIGH INTENSITY, LIKE A
JAZZ SET...AND THEY END WITH ‘REELIN’ IN THE
YEARS’ AND THE AUDIENCE GOES NUTS.”
Photos by George Talusan
solos are very structured and exactly the same
the scratchy sound. After Steely Dan finishes
good friend of Fagen’s, Pugh said. At the over-
length.”
the tunes on the first side, the singer flips over
seas concerts, younger folks take in the Dan’s
the album and sets down the needle again.
concerts.
Pugh digs the structure of Steely Dan con-
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certs, though. “They start out with high inten-
Pugh also enjoys how Steely Dan mixes
And once, in the VIP bar of a Paris the-
sity, like a jazz set. Then they move to stuff
it up at special shows, like the seven they did
ater where Steely Dan had just played, Pugh
that’s more thoughtful and laid back. Then
in September at the legendary Beacon Theatre
and the band stumbled upon French actress
after the intro, they do their hits and they end
in New York. They performed a different set
Catherine Deneuve, who appears ageless. “All
with ‘Reelin’ in the Years’ (1972), and the audi-
each night. (One evening Pugh looked out
we could do is stop and stare,” Pugh remem-
ence goes nuts.”
at the Beacon audience and saw actor Bruce
bered. “She really is gorgeous, in that classic
“All of a sudden Steely Dan was golden
Willis.) In the set “Dawn of the Dan,” the
sense of gorgeous.”
again,” he said. “After that, the promoters
Dan performed songs from their first three
While on the road with Steely Dan, Pugh
came out of the woodwork.” And he said Steely
albums: Can’t Buy a Thrill, Countdown to
occasionally is asked for his autograph. He and
Dan’s “concept concerts” are really interesting
Ecstasy, and Pretzel Logic. In Rarities, the
the other Danners, though, are usually “seques-
and have really taken off since the band started
Dan played numbers familiar only to Fagen,
tered” once they board their bus or enter or
doing them around ’08. At those shows Steely
Becker, and hard-core fans. “They all sound
leave venues. “Donald and Walter exit while
Dan performs tracks from their hit albums Aja,
very interesting because most of the people in
we play one more tune, and they get into a
Gaucho, and The Royal Scam, in the order they
the audience haven’t heard them and neither
car-service limo for the airport,” Pugh said.
appear on the recordings. Before the band starts
have we,” Pugh said.
“Whatever luxuries they’re afforded, they’ve
playing, a backup singer goes to a turntable at
Most people in the U.S. Steely Dan audi-
certainly earned. They have every right to be
the front of the stage. She places the needle on
ences are roughly of the baby-boom era and
shuttled on private jets. The two of them are
the first track of a vinyl LP; the audience hears
often include comedian/actor Chevy Chase, a
“IT’S NOT LIKE A WACKY BAND...[WE] ALL COME FROM
BACKGROUNDS OF BEING FREELANCE AND SESSION
PLAYERS. WE’RE ALL PROFESSIONALS.”
Steely Dan. None of us are Steely Dan. We are
Talusan, and their son, Mattox, who’s not yet
Pugh appears on 4,000 other recordings,
all infinitely replaceable. They are not.”
2 years old. The family did, however, get to go
among them movie soundtracks and radio and
along for the Boston and New York stops on
TV advertisements. For five years the New York
the tour.
recording community voted him the tenor
Pugh’s way of travel with Steely Dan is not
shabby, though. When he and the other nine
band members, sans Becker and Fagen, fly, they
Sometimes on breaks from touring, Pugh
trombone MVP. He enjoys the distinction of
go first class. On U.S. tours, Steely Dan’s band
has to leave the family again, as he did during a
being the only recipient of the Virtuoso Tenor
travels like most big-name rockers: on gener-
10-day break from “Shuffle Diplomacy,” when
Trombone Award from the National Academy
ously comfortable buses with leather seats, big-
he went to New York to lay down tracks for
of Recording Arts & Sciences.
screen TVs, and stereo sound.
Fagen’s solo project. “They come at it with that
Pugh, who is 60, enjoys passing on his
“There are no rock-and-roll shenanigans,”
meticulous approach,” Pugh said. “The mix
knowledge to students at Illinois, where he
Pugh said of life on the road with Steely Dan,
takes a long time. It will be a while before the
teaches jazz composition and a studio of trom-
except maybe for a road-crew member who
record is out.”
bone students and conducts a concert jazz
dressed in a monkey suit and scampered across
So far Pugh appears on four Steely Dan,
ensemble. He doesn’t know how much longer
the stage during a Toledo Zoo amphitheater
Fagen, and Becker albums: Two Against Nature,
he’ll lend his trombone to Steely Dan. “I guess
concert. “It’s not like a wacky band because
released in 2000, winning the band four
as long as I feel I can still do a good job, assum-
all of the horn players and other musicians
Grammy awards including album of the year;
ing that they would ask me to be there,” he
and singers all come from backgrounds of
Everything Must Go, released in 2003 and the
said. “Steely Dan is not unknown, particularly
being freelance and session players,” Pugh said.
only Steely Dan studio album not certified at
among musicians. There’s a certain delightful
“We’re all professionals.”
least gold; Becker’s second solo album, Circus
cachet in being part of this group.”
One of the few, if any, big drawbacks of
touring for Pugh is he misses his wife, Grace
Money (2008); and Fagen’s 1993 Grammywinning Kamakiriad.
Melissa Merli covers the arts and entertainment for
The News-Gazette in Champaign.
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New Appointments
Edward Rath, Associate Director Emeritus, School of Music
Sally Takada Bernhardsson,
Director of Development,
holds an M.M. in cello performance with honors from the
New England Conservatory of
Music, and she has a B.A. cum
laude with a double major in
economics and music from Barnard College of
Columbia University. She has undertaken additional studies in development-related courses,
including some offered by the Center on
Philanthropy at Indiana University.
Prior to her arriving in the CU community,
Sally spent five years as development director of Music@Menlo Chamber Arts Festival
and Institute in California. In that position,
she launched the organization’s initial capital
campaign, oversaw a 150-member volunteer
fundraising team, and exceeded an annual
fundraising goal of $1.25 million. Prior to her
California experience, she worked in development efforts in Boston (Harvard and Children’s
Hospital), and in New York City she interned in
a public relations firm and served as a program
coordinator at Columbia University. Currently,
she also serves as executive director of DoCha,
the Downtown Champaign Chamber Music
Festival.
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Charles Daval, Assistant
Professor of Music (trumpet),
is currently principal trumpet
of the Pittsburgh Opera and
Pittsburgh Ballet. His previous
performance positions include membership in the
symphonies of Boston, Montréal (solo trumpet),
Seattle, and Cincinnati. Prior to his academic appointment at the University of Illinois, he was
professor of trumpet for six years at the
University of Michigan in Ann Arbor. Daval
earned a Bachelor of Arts degree from San Jose
State University in California and then went on
to study with Vincent Cichowicz at
Northwestern University, where he earned his
master’s degree. While in the Chicago area, he
performed with the Chicago Civic Orchestra and
also studied with Adolph Herseth, principal
trumpet of the Chicago Symphony for many
years. Additional highlights from his performance career include appearances on PBS
broadcasts of “Evening at Pops” with conductorcomposer John Williams from 1984 to 1988. In
1986, he was featured on Maryland Public
Television’s “Live from Wolf Trap” as cornet soloist
with Keith Brion’s “New Sousa Band.” Additional
appearances as soloist include concerts with the
Boston Pops, Cincinnati Pops, Toronto
Symphony, Rochester Philharmonic, Detroit
Symphony, Indianapolis Symphony, Naples
(Florida) Philharmonic, Seattle Symphony, and
Carmel Bach Festival. In the spring of 2008, Mr.
Daval received his law degree cum laude from
the Duquesne University Law School.
James Gortner, Assistant
Director for Operations and
Finance, had long been associated with UI’s Allerton Park
& Retreat Center, most recently serving as its associate director since 2007. In addition
to his administrative and supervisory duties, Jim
was responsible for operations and facility and
budget management. He has proven leadership
abilities and brings much experience and knowledge in working with UI Facilities & Services,
other campus units, and outside vendors that
will no doubt be beneficial to the School of
Music. His major accomplishments at Allerton
include managing a $5.8 million dollar capital
improvement campaign, collaborating with UI
students in the Sustainable Campus initiative,
working extensively in historic preservation as
Allerton became listed on the National Register,
and, most importantly, over the last five years
shepherding the entire Allerton operation
through an exhaustive review process that
paved the way for Allerton to emerge as a more
focused and fiscally sound unit. Jim is a graduate
of Illinois State but over the last 18 years has
managed to memorize all of the UI fight songs.
Michael Holmes, Enrollment
Management Director, is an
accomplished saxophonist
and a regular performing musician with the St. Louis
Symphony. He is completing a
D.M.A. (ABD) in saxophone
performance and literature at the University of
Illinois School of Music, where he also received
his M.M. in saxophone performance. In addition,
Michael holds a Bachelor of Music Education
from Bowling Green State University. He brings a
wealth of knowledge of the music industry to
Illinois. Immediately prior to his joining the
School of Music administrative staff, Michael was
the director of product marketing for reed instruments at Conn-Selmer, Inc. in Elkhart,
Indiana, one of the largest and most prestigious
musical instrument firms in the world. Earlier in
his career, Michael worked as a product specialist and artistic advisor for the Vandoren
Corporation. In addition to his administrative
duties at Illinois, Michael will assist Professor
Debra Richtmeyer with teaching our classical
saxophone students.
Barry Houser, Visiting
Assistant Director of Bands
and Conductor of Athletic
Bands, most recently served
as acting director of bands
and director of athletic bands
at Eastern Illinois. Earlier in his
career, he taught at NorthWood High School in
Nappanee, Indiana, where the band performed
at the Festival 500 Parade, Target Thanksgiving
Day Parade in Chicago, Outback Bowl Parade
and Half-Time Show in Tampa, 74th annual
Hollywood Christmas Parade, and Washington,
D.C. National Memorial Parade (representing the
state of Indiana) and with Maynard Ferguson.
Prior to his position at NorthWood, Mr. Houser
served as the assistant director of bands at
Buchholz High School in Gainesville, Florida.
Houser earned his master’s degree from the
University of Illinois, where he worked with the
Marching Illini, basketball bands, and concert
bands while in residence. He is active nationally
as a guest conductor and clinician for honor
bands, festivals, and conferences and is one of
the directors of the Macy’s Great American
Marching Band. Many students first become familiar with Professor Houser in his role as director and head clinician for the Smith-Walbridge
Clinics, one of the largest camps of its type in the
nation.
Daniel E. Michelsen,
Manager and Logistics
Associate for University Bands,
brings many years of business,
music education, and instrument repair experience to the
UI Band Program. Serving
more than 850 students, his primary responsibilities are centered in logistical and administrative
assistance with athletic bands and properties
management, including maintaining instruments, uniforms, equipment, storage, and the
overall facility. Oversight of keys, lockers, special
access, and facility setups are also part of this
position. In selected terms, Mr. Michelsen will
also teach a course in instrument maintenance
geared toward music education majors.
Jeananne Nichols, Assistant
Professor of Music Education,
comes to us from Olivet
College in Olivet, Michigan,
where she was associate professor of music and director of
instrumental studies. She
earned a Bachelor of Music Education degree
from Carson Newman College in Tennessee, an
M.M. in conducting from the University of
Tennessee, Knoxville, and a D.M.A. in music education from Arizona State University. Earlier in
her career, Dr. Nichols taught middle and high
school band in public schools in Georgia and
Tennessee. In 1994, she founded the Knoxville
Youth Concert Band, a pioneering effort to provide instrumental music education to homeschooled students in the East Tennessee region.
Dr. Nichols’ research highlights the lived experiences of persons whose voices may otherwise
be muted in the prevailing discourses of music
and music education. Her specific projects include music education practices in homeschooling, the United States Air Force “Women in the
Air Force” (WAF) Band (1951-1961), and LGBT
students in school music. A regular presenter at
regional and national research conferences, Dr.
Nichols’ work has been published in the Bulletin
of the Council for Research in Music Education, the
International Journal of Education and the Arts,
and Narrative Soundings: An Anthology of
Narrative Inquiry in Music Education.
Angela Schmid, Enrollment
Management Assistant
Director, hails from Colorado.
An accomplished oboist, she
holds a Bachelor of Music
from the University of
Colorado and an M.M. in oboe
performance from the University of Illinois and is
completing her D.M.A. (ABD) in oboe performance and literature also at Illinois. Ms. Schmid
began her career in the School of Music's admissions and financial aid office in 2007 as a graduate assistant. Establishing herself as a leader
working with music admissions, she took on additional responsibilities in 2010, including the
scheduling of all on-campus auditions, coordinating volunteers for recruitment and admission
events, and becoming an expert in international
admissions.
Aaron Ziegel, Visiting
Lecturer in Musicology, teaches the music history sequence
for music majors and
“Introduction to the Art of
Music” for non-music majors.
Dr. Ziegel earned his Bachelor
of Music in piano performance summa cum
laude at the University of Cincinnati CollegeConservatory of Music, where he also earned his
M.M. in music history; he received the Ph.D. in
musicology from the University of Illinois. His research interests range widely, encompassing
such diverse outlets as film music, American
popular song, and the eighteenth-century keyboard sonata, while his dissertation explored the
now little known composition and production of
American operas during the 1910s. His teaching
and research are balanced by his activities as a
pianist and accompanist. Ziegel won the
National Opera Association’s 2010 Scholarly
Paper Competition with material from his dissertation that examined the formation of an
American style of opera libretto during the early
years of the twentieth century. This work was
also included in The Opera Journal. Beyond
American opera, Ziegel is a specialist on the music of Vernon Duke, a composer equally adept at
writing popular songs and classical concert music. The journal American Music published
Ziegel’s reassessment of Duke’s compositional
style in 2010. Ziegel also contributed a revised
biographical entry on the composer to the forthcoming second edition of The Grove Dictionary of
American Music (Amerigrove II). Ziegel’s most recent publication, in the Fall 2011 issue of Music
Research Forum, compares the alternate film
scores for Cocteau’s La Belle et la Bête composed
by Georges Auric and Philip Glass.
F A C U LT Y M I L E S T O N E S
P R O M OT I O N S
RETIREMENTS
Dr. Christina Bashford
(Musicology) promotion to Associate
Professor with indefinite tenure
Dr. Chester Alwes
(Choral, Music Education) to Associate
Professor Emeritus
Yvonne Redman
(Voice) Associate Professor with indefinite
tenure
Dr. Ian Hobson
(Piano) to Swanlund Chair Emeritus and
Professor Emeritus
Sherban Lupu
(Violin) to Associate Professor Emeritus
Dr. Edward Rath
(Administration) to Associate Director
Emeritus and Assistant Professor Emeritus
Scott Wyatt
(Composition-Theory) to Professor Emeritus
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THE
NEW
By Michael Cameron
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A world-class music school is built from the inside out. Countless hours are
conductor of the Lake Geneva Symphony. In 2011, he will add music direcspent in practice rooms and classrooms, honing skills in theory and techtor of the Beloit College Symphony Orchestra to his positions. Anderson
nique, learning historical context, and building a core repertoire of works
notes that “talented (orchestra) conductors considering graduate school all
for solo and massed forces. Eventually the component parts have to be
seem to have Illinois on their short list.” He values a program like Illinois
assembled, and the art takes on a public face. This is where the conducted
that keeps the number of students small in order to maximize precious
ensembles take center stage.
podium time.
The University of Illinois School of Music has been training choral,
Another Schleicher standout in opera, symphony, and new music is
band, and orchestra conductors for decades, placing hundreds of musicians
Donato Cabrera (M.M. ‘98). He joined the San Francisco Symphony conwho lead ensembles in public schools, universities, and professional groups
ducting staff in 2009 after assisting in productions at the Chicago Lyric
around the world. With two new advanced degree programs now among the
Opera, the Metropolitan Opera, and the Los Angeles Philharmonic. He was
many previous offerings, music students have even more resources to prepare
recently appointed music director of the Green Bay Symphony Orchestra,
themselves for the challenges of a competitive and rewarding profession.
and he is a finalist for the Illinois Symphony music director search.
This fall Illinois inaugurated the Doctor of Musical Arts degrees for
“Attending the University of Illinois and studying conducting with Prof.
orchestra and band conducting, completing
Donald Schleicher gave me my first glimpse
a trio of D.M.A. degrees with the existing
into the world of which I now reside, that of
choral conducting program, as well as the
a professional working classical musician,”
long established Master of Music degrees in
writes Cabrera. “The fundamentals of music
“TALENTED CONDUCTORS
all three disciplines. The D.M.A. programs
and music making, the tools of my trade,
educate students using the school’s most
were formed and honed through the excellent
CONSIDERING GRADUATE
advanced course work and a wealth of handsfaculty/musicians of this storied School of
on training, all of which contribute to the
Music. I am immensely proud to be an alumSCHOOL ALL SEEM
goal of career preparation in professional pernus of the University of Illinois.”
formance and academia.
Professor Eduardo Diazmuñoz has
TO HAVE ILLINOIS ON
Even before these new degrees bear
mentored outstanding students in both
fruit, the three conducting programs have
opera and contemporary music conductTHEIR SHORT LIST.”
produced dozens of graduates who have
ing, including Kevin Class (D.M.A. ’07),
achieved considerable success. Professor
his first assistant and pianist/coach for one
Donald Schleicher’s former student Robert
year. He currently works at the University of
Mirakian (M.M. ‘04) has been the music director and conductor of the
Tennessee in Knoxville, and in 2009 he founded the Seoul International
Richmond (VA) Philharmonic since 2006. He is also on the staff of the
Opera Program. Another standout was Sergei Pavlov, (M.M. ’07, D.M.A.
Toledo Symphony Orchestra and is music director of the University of
’11) who, like many conducting majors, gained valuable experience perToledo Symphony. Carolyn Kuan (M.M. ‘01) has conducted many top
forming with student ensembles, including the Opera Division’s spring
American orchestras (San Francisco, Louisville, and Seattle) and was recently
2009 production of Neely Bruce’s Hansel and Gretel at the Krannert
appointed as the music director of the Hartford Symphony Orchestra. In
Center. Subsequently, he was invited to the Spoleto Festival, and last year
2003 she became the first female to be awarded the Herbert von Karajan
he was chorus master of the Theatre du Châtelet in Paris for a production of
Conducting Fellowship, an honor that resulted in a prestigious residency at
Scott Joplin’s Treemonisha. the 2004 Salzburg Festival.
Director of Bands Robert Rumbelow notes that students on other
David Anderson (M.M. ‘08) is the conductor on the staff of the Elgin
degree tracks benefit greatly from the conducting programs, most notably
Youth Symphony, and in 2010 he was appointed as the music director and
in music education. Polly Middleton and John Burdett, Ed.D. candidates,
hold the posts of assistant director of bands at Virginia Tech and the direcin size and in the need for faculty. Although professional level wind groups
tor of bands at Cal Poly Pomona, respectively. One of Illinois’ most distinin the military have always been important to the wind band landscape, a
guished Ed.D. alumni is Richard Mark Heidel (Ed.D. ’99), the director of
number of new professional ensembles have sprung up all over the nation
bands at the University of Iowa, one of the nation’s premiere programs.
with credible seasons, strong attendance, and interesting repertoire.”
In the choral area, there have been multiple standouts spanning sevSchool of Music faculty conductors have well-defined performance
eral generations. Anton Armstrong (M.M. ’80) is a professor at St. Olaf
philosophies honed from years of experience at the highest professional levCollege and conductor of the renowned St. Olaf Choir. Stephen Sieck
els. Professor Diazmuñoz brings to the podium his considerable experience
(M.M. ’03, D.M.A. ’06) is co-director of choirs at the Lawrence University
with such conducting titans as Leonard Bernstein, León Barzin, Eduardo
Conservatory. For four seasons, Donald Nally (D.M.A. ’95) was the chorus
Mata, and Francisco Savín. “I always do my best to inspire my students by
master of the Lyric Opera of Chicago and is now directing professional choexample, first and foremost. One is basically a coordinator of many different
ral ensembles in Philadelphia and Cincinnati.
will powers, talents, and bright minds and should facilitate the processes of
Even before graduates polish their CVs for the job market, they often
each of them to converge all this energy into one powerful and effectively
embark on School of Music projects that are more associated with the protransmitting force.” Professor Schleicher is an active participant in several
fessional musical realm than academia. The band program has a long tradiconducting workshops, including the International Conducting Institute in
tion of recording stretching back to the 1930’s with a discography of close
the Czech Republic and the International Conducting Workshop in Ann
to 100 projects, many from the legendary Director of Bands Harry Begian.
Arbor.
Current Director Robert Rumbelow has been working on several discs for
As part of his approach to choral conducting, Professor Fred Stoltzfus
the Naxos and Summit labels. His conducting students receive first-hand
emphasizes “formal musical understanding and efficient rehearsal technique
experience in the rigors of the recording process from the booth and are also
as well as subtle skills: physical gesture, voice pedagogy, and stylistic nuance.
involved in Web casts of Illinois Wind Symphony concerts.
That usually involves a balance between work accomplished in small conSince John Phillip Sousa comducting master classes and individual
posed the “University of Illinois March”
coaching. I recognize the unique paths
for Harding in 1929 (recognizing the
that musicians must take to realize their
“THE CRITICAL DEGREE
University of Illinois Band as the “world’s
potential as conductors.”
greatest college band”), the campus has
Professor Rumbelow emphasizes
hosted many of the world’s most esteemed
the value of a limited number of degree
FOR COLLEGE BAND
conductors, visits that inspire budding concandidates so that each student conductors to further excellence. Sir Thomas
ducts with the Campus and University
DIRECTORS HAS BECOME THE
Beecham led a Mozart program of choral
Bands throughout their tenure as part
and orchestral music in 1956, and more
of a rotation through each of the upper
D.M.A. OVER THE LAST DECADE,
recently the Wind Symphony has hosted
tier ensembles (Illinois Wind Symphony,
the likes of Donald Hunsberger (Eastman
Wind Orchestra, Harding Symphonic
AND OUR D.M.A. STUDENTS
Wind Ensemble emeritus conductor) and
Band, and Hindsley Symphonic Band).
Timothy Foley (retired conductor of “The
“They are always working with two
HAVE A VERY REASONABLE
President’s Own” Marine Band). In 2009
ensembles and observing rehearsals of
New York Philharmonic chorus master
the Illinois Wind Symphony. Students
EXPECTATION OF
Joseph Flummerfelt (D.M.A. ’71) led the
also take courses and assist with each
University of Illinois Symphony Orchestra
of our four faculty conductors, so their
LANDING A COLLEGE JOB
and chorus in an inspired performance of
experience is rich as they move through
Brahms’ Requiem.
the program of study. Lastly, with one of
UPON GRADUATION.”
Four world-class orchestras and sevthe world’s finest wind band performance
eral professional choruses reside within a
collections, and the Sousa Archives and
180-mile radius of Champaign-Urbana
Center for American Music both located
(Chicago Symphony, Lyric Opera, St. Louis Symphony, Indianapolis
in the Harding Band Building, amazing research materials/projects are readSymphony), and several touring orchestras visit the Krannert Center each
ily available.” season. During a recent visit by the San Francisco Symphony, Michael
Throughout its distinguished history, the School of Music has proven
Tilson Thomas conducted a University Symphony Orchestra rehearsal that
to be fertile ground for future generations of conductors. With these two
had conducting students on the edge of their seats.
new degree programs on the books, the next wave of maestros now has a full
Competition for jobs in the field is as fierce as ever, but Rumbelow
range of options for studies at the highest possible level.
believes there is room for optimism. “The critical degree for college band
Michael Cameron, UI’s professor of double bass, is internationally active as a performer
directors has become the D.M.A. over the last decade, and our D.M.A.
and teacher. As a writer, he has contributed hundreds of articles to the Chicago Tribune,
students have a very reasonable expectation of landing a college job upon
Fanfare, Chicago Classical Review, American String Teachers, and Bass World.
graduation. Our M.M. students will have a number of options available to
them as well…wind bands on the college and professional level are growing
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Faculty News
Tina Happ, Managing Editor
Reid Alexander (piano
pedagogy) visited Korea
where he gave guest lectures and master classes at
Yonsei University,
Sookmyung University,
Sangmyung University,
Ewha Women’s University,
and Hansei University. Additionally, he was the
keynote speaker and featured recitalist and artist
clinician for the annual meeting of that country’s
prestigious Korean Association of Piano
Pedagogy. A widely published author, he and Dr.
Cathy Albergo have co-authored the fifth edition
of the standard bibliographic resource on piano
literature, Piano Repertoire Guide: Intermediate
and Advanced Literature (Stipes Publishing),
which was premiered at the 2011 national conference of Music Teachers National Association
in Milwaukee, Wisconsin.
Christina Bashford (musicology) gave an invited
talk, “Players, Promotion &
the Geography of Chamber
Music,” at a symposium
(Street Music: 200 Years
of Musical Enterprise and
Achievement in Regent
Street [London], 1813-2013) at the University
of London in May 2011. In July she traveled to
the UK again, this time to give a presentation
on the Victorian Christmas carol at the Music
in Nineteenth Century Britain Conference
in Belfast. She also spoke at the American
Musicological Society meeting in San Francisco
(November); her paper there was called “Art,
Commerce and Artisanship: Violin Culture in
Late Nineteenth-Century Britain.”
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Louis Bergonzi (music
education) served as guest
lecturer for students and
faculty at Westminster
Choir College and Michigan
State University on LGBT
studies’ potential to inform
music education research
and practice. He was awarded the 2011 Catalyst
Award from the UI’s LGBT Resource Center for
“providing impetus for change by promoting
social justice both on campus and in the broader
community.” In 2011, he led the South Carolina
All-State Orchestra as well as the Minnesota
All-State Orchestra that performed Professor
Stephen Taylor’s composition, “In the Balance.”
Bergonzi’s arrangement for middle school string
orchestra of the Andante from Mendelssohn’s
Violin Concerto in E minor is slated to be published by Kjos Music Publishers. It was one of the
pieces he performed in July with ISYM’s middle
school orchestra and at the Indiana Chapter of
ASTA’s Summer Reading Session in Indianapolis.
Philipp Blume (composition-theory) has written a
new chamber piece entitled
“Kennst Du das Land?” for
the Ensemble Dal Niente,
which will be premiered at
KCPA in March 2012 as part
of the group’s Rohlen residency. Other current projects include a collaboration with British poet Simon Howard to create
a monodrama, based on the poetry of Yannis
Ritsos, for the Ann Arbor-based ensemble Brave
New Works and soprano Jennifer Goltz; a new
trombone quartet for the composers slide quartet
(Stuttgart); a faculty recital in January 2012; and
continued work on the chamber music cycle
Rausch des Vergessens, all making for a busy academic year.
Zack Browning (emeritus,
composition-theory) gave
lectures at Trinity College
and University College Cork
in Ireland, at the University
of South Florida, University
of Tampa, and University of
Central Florida. Premieres
included “Song Arirang” for soprano Hein Jung
and piano trio, “Flying Tones” for percussion
ensemble, and “Head Swap” for violin and interactive robotic painting machine. Innova
Recordings released two solo CDs of his music:
Venus Notorious, featuring performances by several UI faculty, and Secret Pulse featuring the Jack
Quartet. The Prism Quartet recorded “Funk
Assault” for its CD Breath Beneath (New Dynamic
Records) and “Howler Back” on their CD
Dedication (Innova).
Donna Buchanan (musicology) spent 2010–11 in Sofia
as a Fulbright-Hays grant
recipient, conducting
research on BulgarianArmenian music and dance
and Bulgarian cosmology
and sound art in the postsocialist context, particularly concerning the significance of bells. She co-founded the Atanasov
Foundation for Bulgarian and Balkan
Ethnoorganology and gave papers at the
American Research Center and a Fulbright conference on EU integration. During 2011–12 she
will present additional findings at OSU, SEM, and
the University of Chicago. She revised the
“Bulgaria: Traditional Music” entry for Grove
Music Online, is book review editor for
Ethnomusicology, and is editing a Festschrift
honoring Gerard Béhague.
Tito Carrillo (trumpet) was
selected as one of nine jazz
trumpeters, led by legendary trumpeter Jon Faddis, to
participate in the Jazz
Institute of Chicago’s
Opening Night Gala
Concert, “A Pride of
Trumpets: Celebrating Chicago’s Jazz Trumpet
Legacy.” Carrillo has had several artist-in-residence engagements over the past year, including performances and master classes at the
University of Nebraska at Omaha, the University
of Denver, Texas Tech University, and Arizona
State University. His debut solo CD, Opening
Statement, features all original compositions and
arrangements and was released by Origin
Records in November of 2011.
Elliott Chasanov (trombone) has been invited to
appear as a featured trombonist at the 2012 Kutztown
University Brass Day in
February. Professor
Chasanov’s brass ensemble
arrangements were performed at the 2011 Pentabrass Festival in Italy
and arrangements for brass quintet in fall 2011
at Texas Pan-American Brass Day by the
University of Texas Pan-American Faculty Brass
Quintet.
Ollie Watts Davis (voice)
appeared as soprano soloist
for the “Gershwin in Blue”
concerts with the Elgin
Symphony (IL) and delivered key addresses for the
Illinois Leadership “Power of
the Individual” conference,
Upward Bound College Preparatory Program,
Illini Christian Faculty, Delta Sigma Theta
Sorority, and Broadview Baptist Church (IL). She
also served on the committee to select university scholars and co-chaired the Council on
Gender Equity. She hosted the Tenth Black
Sacred Music Symposium, and under her direction, the Black Chorus premiered “Refuge,” a
piece she co-wrote with K. Edward Copeland for
the tenth anniversary September 11th memorial
concert at Smith Recital Hall.
John Dee (oboe) was honored once again by the
International Double Reed
Society, having been invited
to perform four world premiere works written for him
for oboe and double reeds
at the 2011 IDRS
Conference. This past summer also included the
sixth successful ISYM Double Reed Camp, bringing students from all over the country to the
University of Illinois for an intense week of oboe
and bassoon studies. Professor Dee was a featured soloist at the Allerton Barn Festival, performing Mozart’s Quartet in F major, K. 370 with
the Pacifica Quartet. Professor Dee was invited
to perform and teach oboe master classes at
major universities throughout Ohio and Indiana
this past October, and in September he participated in a recital at the Mills Breast Cancer
Institute with Thomas Jostlein, the associate
principal horn of the St. Louis Symphony and a
former UI professor, and UI music student
Jennifer Garrett, piano.
Eduardo Diazmuñoz
(opera) will present a lecture entitled “The Life and
Art of Daniel Catán” in Los
Angeles and Washington in
January 2012, remembering
the opera composer upon
his unexpected passing last
April. Diazmuñoz, a founding member of the
board of the Daniel Catán Foundation, had a
longtime personal and professional relationship
with Dr. Catán. In February 2009, Dr. Catán visited the UI campus for the Opera Division’s premiere of his opera, Rappaccini’s Daughter.
Maestro Diazmuñoz organized a celebration
concert in homage to the composer and his
work in Mexico, Catán’s home country, at the
Palacio de Bellas Artes. Held in September, the
nationally broadcasted concert featured seven
vocalists and the internationally renowned and
Grammy-winning percussion quartet, Tambuco.
Timothy Ehlen (piano) had
his recordings of volumes 2
and 3 of the Beethoven
sonata cycle with Azica
Records released in 2010 to
critical acclaim; volume 4
was released in September
2011. Ehlen’s chapter,
“Genre References in Beethoven Sonatas,”
appeared in the book The Pianist’s Craft:
Mastering the Works of Great Composers
(Scarecrow Press, 2011). He presented five lectures on Beethoven piano sonatas, gave a solo
recital broadcasted live on the Internet, led master classes, and performed chamber works at the
Brevard Music Festival. Other activities include
chairing the international jury of the World
Piano Competition and performing a concerto
with the Champaign-Urbana Symphony.
Ricardo Flores (percussion)
performed with drum set
great Peter Erskine and presented a clinic on AfroCuban percussion at the
Ohio Day of Percussion at
Wright State University in
Dayton, Ohio. The
University of Illinois Steel Band, directed by
Flores, was invited to perform at the 2011
Percussive Arts Society International Convention
as part of a mass steel band concert, featuring
soloists Liam Teague, Christopher Hanning, and
Professor Flores. Other future engagements
include performances and presentations at the
Illinois Music Educators Conference, Western
Illinois University, and the University of Arizona.
Larry Gray (jazz) is in the
middle of a very busy year
of performing and recording, both with his group,
The Larry Gray Trio, and
with various internationally
acclaimed jazz artists. The
trio’s new release, 3 =1, is on
Chicago Sessions. Neil Tesser calls the group
“one of contemporary jazz’s great guitar trios.”
Larry performed in 2011 with notable jazz artists
such as Tom Harrell, Donald Harrison, Claudio
Rodity, Harry Allen, and Ira Sullivan. Last fall featured performances with Benny Golson and
others and a trip to Tbsilsi, Georgia, for a concert
with the Larry Coryell Trio.
Joyce Griggs (executive
administration) recently
accepted the appointment
of associate director for the
UI School of Music. She now
manages the academic
affairs office, including
degree requirements, curricula, and student policy, and serves as the
director of graduate studies. Last year, Ms.
Griggs also edited and published through RBC
Inc. five works for saxophone chamber ensemble
originally arranged/composed by Percy
Grainger. These works are part of a larger collection, with the complete set scheduled to be
published by December 2012.
Photo by Peter James Zielinski
Nathan Gunn (voice) and Julie Gunn (accompanying) have had a fun-filled year exploring cabaret and musical theater. They started at the
Allerton Barn Festival and went on to give 30
cabaret performances at venues ranging from
the Orange County Center for the Performing
Arts to the Dallas Opera Gala to the legendary
Café Carlyle in Manhattan. The Gunns are
inspired by their new relationship with
Broadway and film star Mandy Patinkin, with
whom they developed a two-man show that
was presented at the Ravinia Festival in August
and will come to the Krannert Center in March.
Rudolf Haken (viola) performed and taught at the
Universität für Musik und
darstellende Kunst in
Vienna (performing his own
compositions with Christian
Frohn, principal violist of
the Vienna Philharmonic);
Universität Siegen in Germany; Salle Jacques
Brel in Montigny-le-Bretonneux (France);
Conservatorio Oficial de Música in Cáceres
(Spain); and Yıldız Teknik Üniversitesi in Istanbul.
Last April, Stefan Milenkovich premiered
Haken’s new violin concerto in Novi Sad and
Belgrade, Serbia, where Radio Srbija reported:
“The huge applause and screaming made it
seem like we are all at a rock concert . . . a standing ovation from the audience of all
generations…”
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Faculty News
Dana Hall (jazz and musicology) was named artistic
director of the renowned
Chicago Jazz Ensemble. The
big band, based at
Columbia College in
Chicago, began its season
September 1 at Millennium
Park, where it played one of the most coveted
engagements of the season, opening night of
the Chicago Jazz Festival. The concert featured
the world premiere of a composition by
Professor Hall that was commissioned by the
Jazz Institute of Chicago and the Chicago
Department of Cultural Affairs specifically for the
occasion.
Dawn Harris (voice), a
nationally recognized
expert in the staging and
style of Gilbert and Sullivan
comic operas, directed
Princess Ida, a seldom-produced Gilbert & Sullivan
opera, starring international
soprano Faith Esham for the Southern Ohio
Light Opera. Harris was featured in the leading
role of Margaret Johnson in The Light in the
Piazza with the Celebration Company at the
Station Theatre; performed the 2nd soprano
solos in Bach’s B minor Mass with the Baroque
Artists of Champaign-Urbana under the baton of
Chester Alwes; and appeared on the opening
night concert for the Allerton Barn Festival as
soprano soloist. Professor Harris taught the master class “The Singer as Actor” at Northwestern
University this past July as part of its Vocal
Seminar.
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J. David Harris (clarinet)
was the featured soloist at
three clarinet conferences
in 2010-11. Professor Harris
performed for the Kansai
Clarinet Society in Osaka,
Japan, with graduate students Useon Choi, Geon
Joo Kim, Minjung Kang, and Pamela Shuler
and local clarinetist Solomon Baer (D.M.A. ’02).
He traveled to New York City for a performance
with the Traumerei Clarinet Ensemble at Good
Shepherd-Faith Presbyterian Church at Lincoln
Center. Harris was also the featured soloist and
clinician for Clarinet Day at Troy University (AL),
where Timothy Phillips (M.M. ’03, D.M.A. ’06)
one of Harris’s former students, is the clarinet
professor. In July Harris served as music director
and conductor for the Southern Ohio Light
Opera Company in Portsmouth, Ohio, conducting three performances of Gilbert and Sullivan’s
Princess Ida.
William H. Heiles (piano)
spent a week in Taiwan at
the invitation of several
former students and with
the support of the Taiwan
National Science Council
and the Taiwan UI Alumni
Association. Professor
Heiles was the major performer on a UI School
of Music Alumni Concert at the Steinway Arts
Center in Taipei; presented two lecture-recitals
and several master classes at National Taiwan
Normal University, as well as other universities;
and taught a number of private lessons to
potential UI applicants.
Dennis Helmrich (accompanying) designed supertitles for two School of
Music opera productions in
2010-2011: Verdi’s Rigoletto
in the fall and Cavalli’s La
Calisto in the spring. In July
he participated in the
Yachats Music Festival on the Oregon coast.
Ricardo Herrera (voice) has
recently performed in several venues in the U.S. and
Mexico. He sang the role of
Jose Inocente in María La O
by Ernesto Lecuona with
the Chicago Chamber
Opera and sang the baritone solo in Beethoven’s Ninth Symphony with
the Allegro Chorale in Midland, Texas, and also
with Orquesta Filarmonica de Chihuahua in Cd.
Chihuahua, México. Performing in Montana,
Herrera was the soloist in Duruflé’s Requiem and
Mozart’s Requiem with the Glacier Symphony
and Chorale in Whitefish and was the soloist in
Mass in Time of War by Haydn with the Great Falls
Symphony. For the Allerton Barn Fesitival, he
sang the bass solo in Bach’s Cantata 198. With
Sinfonia da Camera, Herrera recorded the baritone solo in On Freedom’s Ground by W. Schuman
for Albany Records. He also directed and sang in
Piazzolla’s Maria de Buenos Aires in Cd. Juarez,
Mexico, and El Paso, Texas; and in the spring of
2011, Professor Herrera directed the UI production of the opera La Calisto by Cavalli.
Joan Hickey (jazz studies
and piano pedagogy) participated in the American
Pianists Association’s Cole
Porter Fellowship
Competition as a judge. It
brought her to Indianapolis
six times, judging five performances and as a guest at the finals. The win-
ner received $50,000 and two years’ support in
touring, recording and performances, the largest
award for a jazz piano competition in the world.
Joan held a clinic at New Trier High School Jazz
Festival, where she directed two jazz combos for
Nic Meyer. She performed with the Chicago
Chamber Musicians for their annual gala at the
Union League Club. The theme of the gala showcased jazz influenced work. Larry Combs joined
Joan and her trio on clarinet.
Jonathan Keeble (flute)
assumed the position of
chair of the National Flute
Association, the highest
elected position in the
world’s largest flute organization. As part of the
Aletheia Duo with Ann
Yeung, Keeble appeared on concerts in
Tallahassee, San Francisco, Vancouver, Seattle,
and elsewhere. Keeble continued in his role as
flute faculty at Aria International and Madeline
Island Music Camp. As a featured guest artist,
Keeble taught and performed at events held by
the Seattle Flute Society, the Dana Flute Festival,
the Texas Flute Society, and the Northeast Ohio
Flute Association. Additionally, he served as a
sabbatical replacement at Florida State
University. Reviews of recent recordings lauded
Keeble as “having an infinitely flexible sound,
with many subtle colors,” and “the lines he draws
with his sound are stunningly poignant.”
William Kinderman (musicology) presented and performed at the University of
Munich, Germany, and at
Bartók Symposium in
Szombathely, Hungary. He
presented on “Creative
Process Studies on
Beethoven” at the national meeting of the
American Musicological Society. He was the
keynote speaker at the Tracking the Creative
Process in Music conference in Lille, France. His
paper “Beethoven’s Dedications to Musicians in
his Circle” was presented at the Beethoven-Haus
at Bonn. Kinderman contributed the major part
of the commentary of a two-volume edition of
the autograph score of Beethoven’s Diabelli
Variations and presented lecture recitals of that
work at King’s College London, the BeethovenHaus at Bonn, and at UIUC. He was a featured
speaker at the symposium on “Authorship and
Collaboration in New Music” sponsored by the
Sacher Foundation in Basel.
Dmitri Kouzov (cello) had
solo appearances with the
Johannesburg
Philharmonic, Cape Town
Philharmonic, KZN
Philharmonic (South Africa),
Rockford Symphony
Orchestra, and Minnesota
Sinfonia. He recorded Dialogus for cello and
orchestra by Pulitzer prize-winning AfricanAmerican composer George Walker with the
Sinfonia Varsovia (Poland) conducted by Ian
Hobson and Shostakovich Concerto No. 1 for
cello and orchestra with the St. Petersburg
Symphony Orchestra conducted by Vladimir
Lande. His CD Three Piano Trios by Schumann
(Onyx Classics) with Ilya Gringolts (violin) and
Peter Laul (piano) was released. In addition he
had several solo recitals that included performances in the Chicago Mostly Music Series
and at the University of Illinois and over 30
recitals with the Manhattan Piano Trio in the
U.S. and Italy.
Erik Lund (compositiontheory) was invited for a
one-week residency at
Yildiz Teknik Universitesi in
Istanbul, Turkey, where he
performed and presented a
lecture on his music. In
other activities, he performed with the Evrim Demirel Jazz Quintet and
was granted a two-week residency at the
Ragdale Artist Colony, during which time he
composed “Unknown Origins” for the Fidelio Trio
(London). For the 2011 Allerton Barn Music
Festival, Lund was commissioned to write a
piece, which resulted in the creation of “Credo.”
Lund performed with Compost Q, a music and
dance group that focuses on improvisation, and
received an Urbana Arts Grant for the group to
perform in local schools, libraries, and media
centers. He developed a new course with Kirstie
Simpson of the UI dance faculty based on collaboration between musicians, composers,
dancers, and mechanical engineers. The class
gave six performances and participated in the
campus-wide Innovation Summit sponsored by
the vice chancellor for research.
Gayle Magee (musicology)
contributed to a colloquy
on the future of American
music, published in the
Journal of the American
Musicological Society in
November 2011. Her book,
tentatively titled Music in
the Films of Robert Altman, is under contract with
Oxford University Press and an article on music
in Altman’s film Nashville (1975) will be pub-
lished in Music and the Moving Image next year.
Magee serves as president of the Charles Ives
Society, a charitable organization dedicated to
furthering the work of the American composer
and supported by the American Academy of
Arts and Letters (www.charlesives.org).
Jeffrey Magee (musicology) has completed his
book, Irving Berlin’s
American Musical Theater
(Oxford University Press),
which explores Berlin’s halfcentury career as a pioneering figure on Broadway.
With an expected spring 2012 publication date,
the book includes music and lyrics that have
never been published and offers new perspectives on familiar songs, such as “There’s No
Business Like Show Business,” “God Bless
America,” “A Pretty Girl Is Like a Melody,” and
“Easter Parade,” by considering them in their
original theatrical contexts. Magee and Megan
Woller, a graduate student in musicology, participated in the Harvard-Princeton Forum on
Musical Theater in Cambridge, Massachusetts,
an invited daylong panel featuring discussion of
papers by panelists from theater, dance, and
music.
Timothy McGovern (bassoon) taught and performed with the Prairie
Winds quintet at the
Madeline Island Music
Camp. Other recent Prairie
Winds performances
include concerts in New
Mexico, British Columbia, New York, and Illinois.
He performed as principal bassoon in the
Distant Worlds Philharmonic Orchestra on two
concerts at Symphony Center in Chicago this
last July. As a member of the Illinois Symphony
Orchestra’s negotiation committee, Professor
McGovern helped to negotiate the orchestra’s
first American Federation of Musicians’ contract.
He hosted William Ludwig (Indiana University)
and Karen Pierson (The Ohio State University) for
recitals and master classes this fall at the UI.
Professors McGovern and Dee took a fall recital
tour together, presenting recitals and master
classes at The Ohio State University, Indiana
University, and four other universities.
Chip McNeill (jazz) and the
UI Concert Jazz Band (CJB)
began their year with a performance at the 2011 IMEA
conference and continued
with over 15 more invited
performances at Chicago
area high schools. The CJB
was also invited to perform at the Midwest Band
Clinic conference at McCormick Place in Chicago.
Performances with the UI Jazz Vocal Ensemble
included an invited performance at the Western
Michigan Vocal Jazzfest. In addition, Professor
McNeill toured with Grammy Award-winning
jazz vocalist Natalie Cole in Florida and also
toured with Grammy Award-winning jazz trumpeter Arturo Sandoval, including performances
in New York at the Iridium Jazz Club and in
Boston at Sculler’s Jazz Club. Both the CJB CD
Freeplay and Professor McNeill’s latest CD The
Whirl were submitted for Grammy Award nominations in 2012.
Stefan Milenkovich (violin), Serbia’s “Brand
Personality of Year for 2010,”
performed with the
Belgrade Philharmonic
under the baton of Sir
Neville Marriner; Radio
Television Orchestra of
Slovenia under conductor En Shao; and the
Adana and Izmir Symphony Orchestras with
Ibrahim Yazici. This season also featured a collaboration with lutist Edin Karamazov, which
included an extensive tour of the Balkans, as
well as a CD recording and appearance at the
Guitar Art Festival in Belgrade and the world
premiere of Rudolf Haken’s Violin Concerto at
the NOMUS Music Festival in Novi Sad, Serbia. A
musician of broad stylistic interests,
Milenkovich’s most recent project is a collaboration with guitarist Vlatko Stefanovski and his trio,
which explores the realm of improvisation and
acoustic-electric violin.
Charlotte Mattax Moersch
(harpsichord/organ) performed the solo harpsichord concerti of Johann
Sebastian Bach with the
Festival Orchestra of the
Bethlehem Bach Choir in a
series of concerts celebrating its 105th season. Her solo recital appearances included a guest performance at the
historic Handel House Museum in London in a
concert featuring pieces from the Babell
Manuscript, which was compiled in London in
1702. In November 2011, she recorded the harpsichord works of the 18th century French composer Armand-Louis Couperin with partial
funding from a Creative Arts Award from the
College of Fine and Applied Arts.
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Faculty News
William Moersch (percussion) was a featured soloist
for the 50th Anniversary
Percussive Arts Society
International Convention;
he also served on the juries
for the PAS International
Solo Competition and PAS
International Percussion Ensemble Competition.
His recent commissions include Alejandro
Viñao’s Book of Grooves for marimba duo.
Following last season’s concerto appearance
with Sinfonia da Camera in Boris Papandopulo’s
Concerto for Xylophone and Strings, he will perform Joseph Schwantner’s Concerto for
Percussion and Orchestra with the UI Symphony
Orchestra in May 2012.
Linda Moorhouse (bands)
served as a conducting clinician at the Waynesburg
University (PA) Conducting
Symposium; as a guest conductor and clinician for the
Tennessee Tech University
Honor Band Symposium; as
a guest conductor for Illinois’ District 87 Honor
Band; and as an adjudicator for the prestigious
Disney Honors Music Festival in Orlando, Florida.
She also served as a dance adjudicator for the
New Orleans Saints’ dance squad, the
“Saintsations.” She adjudicated for the Plainfield
(IL) Band Festival, conducted an ISYM concert
band, and headed up the (Band) Director’s
Workshop for the 2011 Smith-Walbridge
Summer Clinic. As a contributing author, she
submitted material for an upcoming GIA publication in the “Teaching Music Through
Performance in Band” series—this new edition
features works for solo instrument and wind
band. As editor of the National Band
Association’s NBA Journal, she compiled the four
quarterly editions this past year. Moorhouse
attended the Midwest International Band and
Orchestra Clinic, the Illinois Music Educators
Association conference, and the American
Bandsmasters Association convention in Norfolk,
Virginia. In the last year, she also served as a clinician for several high school bands in the
region surrounding Urbana-Champaign.
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Bruno Nettl (emeritus,
musicology) published several articles including
“Contemplating
Ethnomusicology: What
Have We Learned?” in Archiv
für Musikwissenschaft
67:173-86, 2010. In October
2010, he lectured on history of ethnomusicology
at the University of Cincinnati, and in February
of 2011 he gave a three-day residence with lectures and seminars at the University of North
Texas. Nettl, along with Professor Thomas
Turino, emeriti faculty Charles Capwell and
Isabel Wong, and UI alumnus Philip Bohlman,
is the author of the sixth edition of the widely
used text, Excursions in World Music, (Pearson/
Prentice Hall). The first edition of this textbook
was published in 1991.
Susan Parisi (research
scholar) is the editor of a
new book that has been
awarded a publication subvention by the American
Musicological Society. Now
in press, the volume will be
published this winter by
Harmonie Park Press and was produced together
with Robert Lamar Weaver and John Karr. It
examines the large performing collection—
some 400 surviving manuscript and printed
scores—collected between about 1750 and
1860 by a Florentine family of the high nobility.
The publication brings together documentary
studies and a catalogue of more than 1,400 compositions. This year Dr. Parisi will chair the Levy
Prize Committee of the American Musicological
Society.
Yvonne Gonzales Redman
(voice) appeared in concert
and recorded Matthew
Tommasini’s Three Spanish
Songs with the Illinois Wind
Symphony under the baton
of Robert Rumbelow in
March 2011. In April, she
had the pleasure to perform a series of cabaret
songs with Chip Stephens at the Lincoln
Awards Ceremony held at Krannert Center for
the Performing Arts. In October 2011 Professor
Redman performed with Professor Jonathan
Keeble on a faculty recital at Krannert Center for
the Performing Arts. Also in the fall, she performed on a fundraiser for Sinfonia da Camera
conducted by Maestro Ian Hobson.
Debra Richtmeyer (saxophone) was invited to be a
member of the jury for the
3rd Jean-Marie Londeix
International Saxophone
Competition held July 4-16,
2011, at Mahidol University
in Bangkok, Thailand.
The jury included Jean-Marie Londeix, president
(France); Arno Bornkamp (Netherlands); Daniel
Kientzy (France); Lars Mlekusch (Austria); Debra
Richtmeyer (United States); and Narong
Prangcharoen (Thailand). Dana Robinson (harpsichord/organ) gave recitals
and master classes during
the second semester at
Arizona State University,
where he performed both
on the North German style
organ by Paul Fritts and on
the 18th-century Italian organ (Traeri) and at
Redpath Hall, McGill University. In February he
was the soloist with the UI Chamber Orchestra,
conducted by Donald Schleicher, in Widor’s
Sinfonia Sacra. In April, he joined the UI Singers,
directed by Fred Stoltzfus, in the solo organ
version of Duruflé’s Requiem. In June he played a
recital sponsored by the New Hampshire
Chapter of the American Guild of Organists.
Ronald Romm, (trumpet)
has been elected to receive
the International Trumpet
Guild Honorary Award. The
Honorary Award is one of
only 25 presented since the
inception of the
International Trumpet Guild
and is given in recognition of individuals who
have made extraordinary contributions to the
art of trumpet playing through performance,
teaching, publishing, research and/or composition. Professor Romm’s international activities
this year included a trip to Italy in September for
the Pentabrass Festival where he conducted,
coached, and performed and an invitation to the
Isla Verde Bronces Festival in Argentina in
February to coach brass ensembles and perform
as a soloist.
Robert W. Rumbelow
(bands/conducting) conducted all over the United
States this past year including two weeks at the prestigious Interlochen Summer
Arts Academy. Rumbelow
had two compositions published by C. Alan Music (“Soundscapes” for organ
and percussion quartet and “Face of Honor” for
concert band). He composed a work entitled
“The Unseen Power” for chorus and wind band
commissioned by a group in the Pittsburgh area.
In addition, Dr. Rumbelow took the Illinois Wind
Symphony to perform for an enthusiastic audience at the annual Illinois Music Educators
Association Conference. Donald Schleicher (orchestra/conducting) was the
guest conductor of the
Missouri Opera Theater
production of The Merry
Widow. Among his other
activities, Schleicher acted
as the head judge for the
National Concerto Competition in Midland,
Texas, and the University of Colorado, Boulder,
invited him to present clinics. For three weeks,
he was the principal conducting teacher for the
International Conducting Institute in the Czech
Republic and, along with Gustav Meier, he performed the same role at the International
Conducting Workshop held in Ann Arbor,
Michigan. In addition, he gave master classes at
the Conducting Master Class and Workshop
Series held in Chicago.
Thomas H. Schleis (opera) celebrates two anniversaries this year—his 30th year teaching the
undergraduate vocal literature class and his 24th
year as principal coach of the Opera Division.
During the summer of 2011, he coached the
ISYM Musical Theatre Camp. He and Dawn
Harris taught a Road Scholar (Elderhostel) class
devoted to the musical theatre of Rodgers and
Hammerstein. He is the program annotator for
the Opera Division, and he contributes program notes for Sinfonia da Camera. He is also a
member of the board of directors of the EastCentral Illinois Chapter of the American Guild of
Organists.
Bernhard Scully (horn) has
performed in the past year
with the Chicago Symphony
and the San Francisco
Symphony, including their
European tour. He has
played principal horn with
both the Saint Paul
Chamber Orchestra and Violon du Roy (Quebec
City, QC), including for their recent recording on
the Naïve label. Scully released his new solo
horn and piano recording, Dialogues en Français,
and his solo album, G. Schirmer Horn Library (Hal
Leonard), was favorably reviewed in The
Instrumentalist magazine. He gave the world
premiere of With Reverence, a new horn concerto
by Kirsten Broberg, with the Ensemble Dal
Niente of Chicago. He was featured as a soloist
with the Saint Paul Chamber Orchestra, The
Contrapunctus Brass Trio, Champaign-Urbana
Symphony, Palo Alto Philharmonic, and others.
Scully was a featured artist at the Kendall Betts
Horn Camp, the Rafael Mendez Brass Institute,
the Northeast Horn Workshop, University of
Western Michigan-Kalamazoo Horn Day, and the
North Country Chamber Players. He has given
recitals and lectures across North America,
including being a visiting guest artist at the Glen
Gould School in Toronto, Ontario.
Rochelle Sennet (piano)
served on faculty at the
Blue Lake Fine Arts Camp
this past summer, where
she also performed with
renowned violinist Dr.
Walter Verdehr of Michigan
State University. She
recently recorded works by Pulitzer Prizewinning composer George Walker, including the
Piano Concerto and Da Camera, with Ian
Hobson conducting. The recording will be
released this year on Albany Records. She has
been invited to perform a solo recital on the
Music at St. Paul Series in February 2012 in Flint,
Michigan. She also serves as co-president for
Champaign-Urbana Music Teachers Association,
as well as East District chair for ISMTA.
Gabriel Solis (musicology)
has just returned from
Australia, where he was a
visiting lecturer in musicology. His article “’I Did It My
Way’: Rock and the Logic of
Covers” was published in
the journal Popular Music
and Society this year. He continues to work on
two books: one focuses on Thelonious Monk’s
live concert recording from Carnegie Hall with
John Coltrane and the other on Tom Waits. He
will return to the Papua New Guinea Highlands
this spring to continue research there on local
music in the school music education programs.
Chip Stephens (jazz) continues to maintain an artistic profile at both the
national and international
levels. He toured with The
Woody Herman Orchestra
in Europe and performed
with the legendary jazz
trombonist Curtis Fuller and with the legendary
Charlie Haden. For nearly two months, an album
recorded by Professor Stephens and Mr. Fuller,
titled I Will Tell Her, was ranked number one in
the nation by Mediaguide on the Jazz Radio
Charts. Three of Mr. Stephens’ students received
international recognition in the 2011 Down Beat
Magazine’s 34th Student Music Awards.
Sylvia Stone (voice) spent
the summer teaching voice
in Italy and Austria. The
program for young opera
singers, which she directed
in Urbania, Italy, was in its
eighth season and hosted
students from Latvia,
Germany, New Zealand, Mexico, Columbia, and
the U.S. The singers performed opera highlights
in historic venues in the region of Le Marche. In
Salzburg, she taught mostly American and
Canadian students, who studied German and
prepared roles for six performances each of Die
Zauberflöte and Der Schauspieldirektor. They also
presented a Liederabend at Schloss Frohnburg,
which was the locale used for the Trapp family
villa in The Sound of Music.
Bridget Sweet (music education) presented the session “Exploring Elements of
Identity in Music Education”
at the 2011 Leading Music
Education International
Conference in London,
Ontario, Canada. She and
four colleagues from around the country presented the research poster, “Learning from and
with each other: Experiences in a professional
development community of music teacher educators,” at the 2011 Symposium on Music Teacher
Education at the University of North Carolina,
Greensboro. Dr. Sweet also directed the Illinois
Summer Youth Music (ISYM) Junior Chorus. Katherine Syer (musicology) presented a paper in
July at the National Royal
Musical Association’s annual
conference held at the
University of Sussex on
Wagner’s development as a
dramatist during the genesis of his Ring cycle. Her article “‘It left me no
peace’: From Carlo Gozzi’s La donna serpente to
Wagner’s Parsifal” recently appeared in the fall
issue of The Musical Quarterly (94/3-4). In
November she led a colloquium at Stanford
University titled “Beyond Illusionism: An
Alternative Interpretation of Wagner’s
Dramaturgy.”
Heinrich Taube (composition-theory) had his
composition Aeolean Harp performed on tour
last fall in Taiwan by the pianist Shiau-eun Ding,
with the opening concert taking place in the
National Concert Hall in Taipei. Taube received
a research board grant to continue work on the
Chorale Composer software used in Music 101,
102, and 201, and the awarded grant was desig-
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Faculty News
nated an Arnold O. Beckmann research project.
His software, Common Music, and a recent viola
tape piece, “Tacoma Narrows,” received favorable reviews in Linux Journal and Computer
Music Journal respectively, and Common Music
continues to be widely used with thousands of
downloads from SourceForge.
Stephen Taylor (composition-theory) was commissioned by the University of
Houston to write
“Everywhere Entangled” for
percussion ensemble; it was
featured at the Percussive
Arts Society in Indianapolis.
“Wind Moving Colors in the Air” for chamber
orchestra was written for the Spoleto USA festival and premiered in Charleston, South Carolina.
Professor Ann Yeung premiered his new solo
harp piece “Shindychew Dances” in July. He also
arranged songs for two new CDs from the band
Pink Martini and collaborated with rock singer
Storm Large for concerts with the Oregon
Symphony in March 2011.
Reynold Tharp (composition-theory) is currently
working on pieces for the
New Juilliard Ensemble and
the Chicago-based
Ensemble Dal Niente. His
new piece “Chaparral”
(Cantilena alla memoria di
John Thow) was recorded for a CD on the Albany
label of music inspired by nature featuring
Jonathan Keeble and Ann Yeung, who performed the piece at Indiana University this fall.
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Matthew Thibeault (music
education) accepted
appointments to the advisory boards of the Council
for Research in Music
Education and Action,
Criticism, and Theory for
Music Education. He edited
the media section in the forthcoming Oxford
Handbook of Music Education and authored a
chapter for The Place of Music in the 21st Century.
Reaching out to practitioners, he will present
invited sessions at the IMEA Conference and the
“New Directions” conference at Michigan State
University. Dr. Thibeault’s piece on creative rights
was published in September’s Music Educators
Journal, and his “Secondary Scene” column in
General Music Today is consistently a mostdownloaded resource.
Sever Tipei (compositiontheory) presented a paper
“Narrative and Continuity—
Are They Necessary?” at the
SEAMUS conference in
Miami, Florida. He performed, on campus and at
SEAMUS, his piano and
fixed media work, “HB with G & E,” dedicated to
the memory of Herbert Brün and realized with
DISSCO, software for composition and sound
synthesis developed at the Computer Music
Project. Tipei’s composition for computer-generated sounds, “Sound Walk,” was performed every
day between September 9 and 14 at the Musica
Viva 2011 Festival organized by Miso Music
Portugal at the Belém Arts Centre.
Christos Tsitsaros (piano
pedagogy) published
Symmetrical Warm-Ups (Hal
Leonard Publishing
Corporation), a technical
compendium of short, daily
exercises to promote flexibility and strength. The
book is the result of Professor Tsitsaros’ research
on Chopin’s ideas on technique outlined in his
Esquisses Pour Une Méthode de Piano and was
presented at the 2011 National Conference on
Keyboard Pedagogy in Chicago. Hal Leonard
Corporation also published his newly composed
“Fantasia on Polish Christmas Carols,” a late intermediate work based on seven traditional
“kolendy” (August 2011.)
Glenn Wilson (jazz) was an
artist-in-residence for three
days at the University of
Virginia in April. He
appeared in concert with
the UVA Jazz Ensemble and
conducted workshops and
clinics in jazz improvisation
and music business. He also performed concerts
and workshops at Connecticut College, Marshall
University, and James Madison University in the
spring. This past summer, for the fourth year,
Wilson produced a concert series “Glenn Wilson
and Friends” at the Illinois Shakespeare Festival
in Normal, featuring 25 concerts of jazz and
‘eclectic’ music. He is also about to release a new
CD with his group, TromBari, featuring trombonist Jim Pugh. Ann Yeung (harp) was a
jury member for the triennial Lily Laskine
International Harp
Competition in Paris. She
gave the world premiere of
Stephen Taylor’s
“Shindychew Dances” and was the emcee and a
performer for the Ceren Necipoglu Tribute in
Vancouver at the prestigious triennial World
Harp Congress. Yeung performed world premieres in 2011 of works by Reynold Tharp and
Julia Kay Jamieson (M.M ’02). As part of the
Aletheia Duo with Jonathan Keeble, she toured
the North American coast; their recording,
Voyage: American Works for Flute and Harp,
received critical acclaim. She was elected director-at-large to the American Harp Society Board
of Directors. Her article on harmonics appeared
in the June/August 2011 issue of Harp Column.
Aaron Ziegel (musicology)
published two journal articles in the fall of 2011. The
Opera Journal issued
“Enacting the Nation on
Stage: Style, Subjects and
Themes in American Opera
Librettos of the 1910s,” an
excerpt from his dissertation. Additionally, Music
Research Forum printed “Reshaped and
Redefined: Watching Cocteau’s La Belle et la Bête
with Auric and Glass,” which compares two contrasting musical scores to the Cocteau film.
Ziegel, an advisee of Gayle Magee, received his
Ph.D. from the University of Illinois in May 2011
and is currently teaching the School of Music’s
undergraduate music history survey and other
courses.
The Pacifica Quartet, which garnered great acclaim for its
2010–11 performances of Dmitri Shostakovich’s complete
string quartets in New York and Chicago and at the Krannert
Center for the Performing Arts (KCPA) on the University of
Illinois campus, has reprised that cycle for chamber music
enthusiasts everywhere with a series of studio recordings for
Cedille Records.
Recorded in Foellinger Great Hall at KCPA, the first in a
four-part series, The Soviet Experience: String Quartets by Dmitri
Shostakovich and his Contemporaries, Volume I, became available in September and includes Shostakovich’s String Quartets
No. 5 in B-flat major, Op. 92; No. 6 in G major, Op. 101; No. 7
in F-sharp minor, Op. 108; and No. 8 in C minor, Op. 110; and
Nikolai Miaskovsky’s String Quartet No. 13 in A minor, Op. 86. In conjunction with its performances of Shostakovich’s
quartets at the KCPA, last spring semester the Quartet participated in a cross-unit, two-day symposium on campus called
“Shostakovich: The Quartets in Context.”
Visit www.pacificaquartet.com for further information about
the new recording.
New Publications and Recordings
John Wagstaff, Head, Music and Performing Arts Library
Back in the USSR
The double CD set,
The Soviet Experience:
String Quartets by
Dmitri Shostakovich
and his
Contemporaries,
Volume I, is the first
in a four-part series
from the Pacifica Quartet, UI’s quartet in residence since 2003. Last year, the Pacifica performed the entire cycle of Shostakovich’s quartets in New York and Chicago and at the
Krannert Center for the Performing Arts. In
February 2011, the quartet also performed
Nos. 11, 13, 14, and 15 at a two-day symposium called “Shostakovich: The Quartets in
Context,” presented by the Slavic Languages
and Literatures Department with co-sponsorship from various units across the campus. The
Pacifica’s Shostakovich cycle for Cedille is
unique for including quartets by other notable
Soviet-era composers. This first volume comprises Quartets 5-8, plus the final quartet (No.
13, in A minor) of Nikolai Miaskovsky, an
influential and prolific composer who was
twenty-five years Shostakovich’s senior. The
works by Shostakovich on this set were composed over a timespan of eight years, between
1952 and 1960, with Nos. 7 and 8 (Op. 108
and 110), both from 1960, separated in opus
number only by the song cycle “Satires,” Op.
109. Shostakovich wrote fifteen quartets in all
and—probably coincidentally—fifteen symphonies. But whereas the symphonies date
from all periods of his life, spanning the years
from 1923 to 1971, he waited a long time
before starting on a string quartet, a genre that
is traditionally regarded as one of the most
severe tests for any composer. Thus, it is that
the first quartet carries the relatively high opus
number 49 and was not written until 1938
when Shostakovich was already in his thirties.
By this time he had already produced several
very significant works, such as the opera Lady
Macbeth of the Mtsensk District, his first piano
concerto, and the fifth symphony.
The Pacifica Quartet is, of course, one of the
musical jewels in the crown of the University
of Illinois, and its recording of these quartets
is thoughtful, considered, and technically
outstanding. This probably stems partly from
the fact that the Quartet performs works several times in public before committing them
to CD and lets projects evolve at their own
pace. Each of Quartets 5-8 has its own distinctive character, from the short No. 7 in F
sharp minor (Shostakovich’s first quartet in a
minor key) and the happier No. 6 in G major
to the semi-autobiographical, and probably
best known, Quartet No. 8 in C minor. Once
released in its entirety, Pacifica’s version of this
quartet cycle will constitute one of very few
complete recordings and is bound to be in
high demand.
Dmitri Shostakovich, Quartets Nos. 5-8. CD Cedille 90000-127 (2 CD set),
published by Chicago Classical Recording Foundation, 2011
(www.cedillerecords.org) [with String Quartet No. 13 by Nikolai Miaskovsky]
Tour de France
Professor Charlotte
Mattax Moersch’s
2010 recording of
keyboard suites by
eighteenth-century
French composer
Pierre Fevrier (16961760) presents works
by a composer who, while he may be less well
known than other members of the French
school of keyboard writing, produced several
suites of intelligent and pleasing music. Two of
the suites from his first book of Pièces de clavecin (1734) begin, unconventionally, with
fugues and may have drawn their inspiration
from works by George Frideric Handel.
Several of the pieces from both books are character pieces with names such as “L’Intrépide”
and “La Grotesque,” while the first suite from
Fevrier’s second book includes the characters
of three females, “La Caressante,” “La
Fretillante”—an energetic, leaping piece—and
“La Coquette.” There are several pieces of a
gentle nature, such as the rondeau “Les tendres
tourterelles” [The tender doves], “La
Délectable,” “Le tendre langage” [The tender
language], and “Le berceau” [The cradle]. The
secret to playing these pieces is to bring out
these varied characters but to make a convinc-
ing whole, and Professor Mattax Moersch succeeds admirably.
The recording continues Professor Mattax
Moersch’s exploration of some of the lesserknown figures of the French keyboard
school—her previous CD recording, issued
in 2009 and also on the Centaur label, was
devoted to Charles Noblet, who was Fevrier’s
cousin and the harpsichordist of the Paris
Opéra. Fevrier himself made his living as an
organist and teacher, holding several prestigious positions in Paris. Both recordings
use appropriate “period” instruments, so
the Fevrier works are played on a copy of an
instrument made in Paris in 1707; and the
suites of Noblet, which are later in date than
Fevrier’s, are performed on a harpsichord from
Paris of around 1720. Both discs are excellent introductions to the music of the French
keyboard school of the eighteenth century,
and those who already have some knowledge
of that school will have the opportunity to
extend their repertoire by way of these less
familiar pieces.
Pierre Fevrier, Pièces de claveçin, livres 1 and 2. CD Centaur CRC 3804 and
3805 (2 CD set), published by Centaur Records, 2010
(www.centaurrecords.com)
Charles Noblet, Nouvelles suites de pièces de clavecin. CD Centaur CRC 3005,
published by Centaur Records, 2009.
Born to Run…
Recently retired UI
School of Music
composer Zack
Browning’s latest
CD, Venus Notorious,
is his eleventh, and it
is pleasing to see that
he has used faculty
and student performers, past and present,
from the School to present some of the six
pieces on this new disc. The composition faculty at Illinois continues to go from strength
to strength, with its members producing intriguing and imaginative new work on a regular basis. Browning has been a prolific composer since the mid-1970s, and his two-movement piece from 1975, “Thunder Roll,” appears on the disc alongside more recent works
from 2006 and 2007. The structure of several
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of the pieces is based upon so-called “magic
squares” in which the numbers are arranged so
that—to quote the composer—“the sum of
each row, column, and diagonal is the same
amount.” This technique tends to produce
compositions that are multi-sectional, full of
variety, and pique the intellect and the ear. Or
to put it another way, rather like a meal with
many different courses, the pieces move from
one textural or rhythmic “flavor” to another.
This makes them highly accessible, and, if you
are a person who thinks you do not like “modern music,” this CD might well change your
mind. Browning’s penchant for short titles is
fully in evidence in works such as
“Blockhouse,” “Execution 88” (for solo piano,
“88” reflecting the number of notes on a piano
keyboard), and “Flute Soldier.” The work from
which the CD takes its name, “Venus
Notorious,” is an extended composition lasting almost fifteen minutes and is scored for
two pianos, xylophone, and drum set.
Browning’s music has often been described as
“high energy,” and this piece—and much of the
other music on the CD—shows clearly why.
Zack Browning, Venus notorious. CD Innova 769, published by Innova
Recordings, 332 Minnesota Street E-145, St Paul, MN 55101
(www.innova.mu), 2010. Cover design: Vincent Calianno.
Also available from www.zackbrowning.com
An Extraordinary Waltz
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Professor
William
Kinderman
has had a
long association with
Beethoven’s
so-called
“Diabelli
Variations,” having performed them several
times, published a book-length study of them
with Oxford University Press, and recorded
them for Hyperion records in 1994 (this recording was re-released by Arietta in 2007).
This, allied to the fact that he has written extensively on Beethoven’s piano music, must
have made him a natural choice to supply an
extended essay, “The Evolution of Beethoven’s
Diabelli Variations,” to this new facsimile edition of the autograph score and first edition of
the work. The story of the variations is well
known: composer and music publisher Anton
Diabelli wished to publish a work on behalf of
a body he called the “Vaterländischer
Künstlerverein” and in connection with his
project wrote to several composers, including
Beethoven, to ask them to write a single variation on a theme of his own composition.
These variations would then be published in
an anthology. Beethoven originally seems to
have treated Diabelli’s theme, and the whole
project, with derision; but as time went by he
apparently became more and more intrigued
by its compositional possibilities. Since he
took some four years, between 1819 and 1823,
to write what eventually became thirty-three
variations and turned into a work lasting almost an hour, he clearly missed Diabelli’s original deadline. Kinderman’s essay examines the
creative process behind Beethoven’s set of variations, carefully explicating the work piece by
piece in a manner that will already be familiar
to those who have read previous work such as
his Beethoven biography or his monograph on
Mozart’s piano music.
William Kinderman, “The Evolution of Beethoven’s Diabelli Variations” in
Ludwig van Beethoven: 33 Variations in C major on a waltz by Anton Diabelli
for piano, op. 120. Bonn: Verlag Beethoven-Haus/Carus Verlag, 2010, p.
46-72 (parallel English and German texts).
A Winning Combination
What makes the
flute and harp such
an attractive duo?
Perhaps, it is the fact
that both instruments match agility
with lyricism, even
if, of course, the
harp does not have the sustaining power of the
piano. But the piano mechanism is, ultimately,
percussive, with a hammer striking metal
strings: responsive to touch, of course, but
with finger and string not in such a close and
intimate relationship as is the case with the
harp. Moreover, the harp has been prized, often as an accompaniment to poetry declaimed
or sung, for centuries, and thus has a special
place in many world cultures, while the flute
likewise has a long history as a classical and
folk instrument. Perhaps, then, both flute and
harp speak to something deep within us, with
their individual effect increased when they
appear together.
The majority of works on this new CD from
UI Professors Jonathan Keeble (flute) and
Ann Yeung (harp) are by composers born in
the second half of the twentieth century, and
several are recorded here for the first time. Not
all the compositions use both instruments, so,
for example, “Rapid Fire” by Jennifer Higdon
is a highly virtuosic work for flute alone, and
two of the pieces by UI faculty composer
Stephen Andrew Taylor are for flute and electronics. The works cover a wide range of styles:
Higdon’s is an uncompromising response to
mindless slaughter on city streets, while Stella
Sung’s “Dance of the White Lotus under the
Silver Moon” is lyrical and poetic both in title
and character. Two of Taylor’s three pieces are
charming tributes to parenthood: “Pulse Aria”
a response to first hearing his unborn baby’s
heartbeat and “Achoo Lullaby” to the baby’s
sneeze, with the actual heartbeat and sneeze
used within their respective compositions (one
wonders whether any performance royalties
will be coming to the child in the future).
The only other attempt at a sneeze in Western
classical music comes at the beginning of the
Háry János suite by Zoltán Kodály, so perhaps
these two pieces will now form the basis for a
new field of musicological study to be called
“Niesenmusik” (“niesen” being the German
word used to describe this particular type of
nasal explosion).
The remaining compositions on the CD are
“Voyage” by John Corigliano, a response to
an English translation of Charles Baudelaire’s
poem “L’invitation au voyage”; “O bien aimée”
by Marcel Grandjany (a French transplant to
the Juilliard School, which justifies his inclusion on a disc of “American” works), based
on a poem by Paul Verlaine; and “The Song
of the Lark” by Charles Rochester Young,
who currently teaches at the University of
Wisconsin. His piece is a response to a painting by French artist Jules Breton. Stephen
Taylor’s remaining piece is based on the novella, Paradises Lost, by Ursula Le Guin; his
full-length opera of that title will receive its
world premiere at the University of Illinois
in April 2012. Finally, Gary Schocker’s “In
Memoriam,” which happily is not listed as a
response to anything in particular, is a simpler
work both as regards structure and character,
but is none the worse for that—a pleasant,
encore-type piece to send the audience home
happy. All in all, this is an adventurous CD
with both performers on top form.
Voyage: American Works for Flute & Harp. CD TROY1185, published by Albany
Records, 2010 (www.albanyrecords.com)
Student News
a selection of recent accomplishments
Karen Marie Gallant, Student News Editor
Chris Butler, a graduate student in percussion,
received the 2011 Theodore Presser Graduate
Music Award for the continued development of
his new music ensemble, TV Buddha. Ongoing
projects supported by the Presser Award include
the “New Music Commissioning Fund,” instrument and equipment acquisitions, recording
the group’s first album, and a tour through the
Midwest.
Chris Dye presented his ongoing research,
“A Description of Alternative Routes to Music
Education Certification in Selected States,” and
Margaux Bookbinder Millman presented
her research titled “The Role of Practice in
the Choral Classroom: Teacher Methods and
Perceptions” at the 2011 Symposium for Music
Teacher Education at the University of North
Carolina-Greensboro.
John Paul Burdett was
appointed assistant professor of instrumental music at
California State Polytechnic
University Pomona, where
he directs concert band and
teaches a variety of performing and music education courses. John will
be continuing as adjudicator with the Music
Center of Los Angeles Spotlight Awards and will
be the guest conductor of the second Region IX
Honor Band in Flour Bluff, Texas. He is continuing
research on middle/high school musicians with
hearing and vision loss participating in instrumental music ensembles and will present, with
UI faculty member Dr. Abel Ramirez, “Authentic
Multicultural Repertoire for the Wind Band: The
Performance Practice of Spanish Paso Dobles,” at
the Southern California School Band and
Orchestra Association conference.
Lindsay Eckhardt, a graduate student of
Professor Yvonne Gonzales Redman, sang
the roles of Antonia in Man of La Mancha and
Eternita in La Calisto in the UI Opera Division’s
2010-11 season. In the summer 2011, Lindsay
sang the role of Josephine in HMS Pinafore with
Prairie Fire Theatre in Bloomington, IL. Most recently, she appeared as the Queen of the Night
in the UI opera production of Die Zauberflöte.
Tai-Kuang Chao is one of four composers
selected by the National Taiwan Symphony
Orchestra as a finalist for the NTSO’s Music
Composition Selection Project. His orchestra
piece, Glitter, was presented at a concert by
the NTSO, featuring the four compositions on
November 29th at Taichung Chung-Hsin Hall in
Taiwan. There are also plans to record the pieces
for CD release.
Keshena Cisneros-Watson, a senior in vocal
performance and choral music education, was
selected as a Young Artist for SongFest 2011 at
Pepperdine University and received an honorable mention at the 2010 Illinois District National
Association of Teachers of Singing (NATS)
Auditions. Keshena is a student of Professor Ollie
Watts Davis.
Peter Deal, a student of Professor Elliot
Chasanov, attended the trombone seminar
of world-renowned French trombone soloist,
Jacques Mauger, for a week outside of Paris in
July 2011 at Mauger’s invitation.
Yohei Endo performed for the Summer Organ
Series of St. John’s Church in Bangor, Maine. The
series featured the church’s restored 3-manual
1860 E. & G. G. Hook and Hastings organ, one
of the most important historic instruments in
the United States. While in New England, Yohei
visited the workshop of C. B. Fisk Organ builders, and took a tour of notable instruments in
the Boston area with Japanese concert organist
Hatsumi Miura. Yohei is the organist at McKinley
Presbyterian Church in Champaign.
Alexis Evers and Tamara Liu attended
the Madeline Island Music Camp, and Aria
International summer festival, respectively.
Amy Feather, soprano, was featured as Violetta
in two performances of La Traviata with the
Rogue Opera Company in Oregon last April.
Tim Fernando, a student of Jonathan Keeble,
attended the Brevard Music Festival, was principal flutist in the Iowa All-State Orchestra, and
won the Iowa Flute Festival’s Flute Wonders
Competition.
Karen Gallant was selected for the 2011
National Flute Association’s Master Class
Performer’s Competition. She performed in
the master class with Paula Robison at the NFA
Convention in Charlotte, NC.
John Gomez performed the role of Duca di
Mantova in the UI production of Rigoletto
and may be heard (and seen) in a variety of
operatic scenes and arias on YouTube under
“juanguillermogomez.”
Timothy Graf was selected to be the clarinet
section feature soloist for the American Wind
Symphony Orchestra’s Summer 2012 tour.
Timothy will be performing “Wuaraira Repano”
for clarinet and chamber orchestra (2006) by
Efraín Amaya under the baton of Music Director
Robert Boudreau.
Agnes Hall was the harp apprentice for the
2011 Hot Springs Festival in Arkansas, and she
was selected to perform for a master class with
Joan Holland at the 2011 American Harp Society
National Summer Institute in Denton, Texas.
Eduardo Herrera was invited to Buenos Aires
in June 2011 to commemorate the 50th anniversary of the Centro Latinoamericano de Altos
Estudios Musicales at the Di Tella Institute by the
Ministry of Culture of Argentina. His work on
the international perspective of this center was
published in a chapter of the book La Música
en el Di Tella: Resonancias de la Modernidad. He
presented “Sounds of Latin America and the
Caribbean: Music as Pedagogical Tool in the K-12
Classroom,” for the Illinois Council for the Social
Studies conference and released a CD with his
band, Sandunga, called La fiesta no es para feos. Christopher Holman was
the first-prize winner in the
undergraduate division of
the 2010 Albert Schweitzer
International Organ
Competition and traveled
to Connecticut to perform
at the winner’s recital. Chris also was an active
participant in the McGill Organ Academy in
Montreal, studying with John Grew and William
Porter, and as an organ scholar at the Royal
School of Church Music Summer Choir Camp in
Charlotte, NC. This fall he was appointed organist and choir master of Westminster Presbyterian
Church in Decatur, the collegiate church of
Millikin University. In addition to playing for
Sunday services, he directs a 16-voice professional choir, drawn from the University Choir
and two other ensembles.
Chen-Yu Huang, D.M.A.
harp student, received honorable mention in the 2011
Lyon & Healy National
Awards Competition and
was appointed adjunct instructor of harp at Illinois
Wesleyan University for fall
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Student News
2011. She also performed as a piano accompanist for Jing-I Jang’s (D.M.A. ’09) lecture-recital at
the Eleventh World Harp Congress in Vancouver.
During the 2011 Illinois Summer Harp Class, they
performed the world premiere of the harp and
piano reduction of Parish Alvar’s Fantaisie on
Bellini’s Norma.
Cassandra Jackson, a sophomore mezzo-soprano, appeared with Desirée Hassler (D.M.A. ‘11),
soprano, as soloists in Bach’s Cantata BWV 198
under the direction of Fred Stoltzfus at the 2011
Allerton Music Barn Festival.
Nick Jaworski launched an online music education magazine, Leading Notes (www.leadingnotes.org). He continues to serve as the magazine’s co-editor. The site features a new podcast,
and the first episode includes an interview with
choral conductor, James Jordan. Additionally,
Nick presented sessions at the New Directions
in Music Education conference at Michigan
State University, the TI:ME National Conference
in Louisville, Kentucky, and the Illinois Music
Education Conference in Peoria. As an active
blogger on music education (nickjaworski.com),
Nick was interviewed for two separate issues of
Teaching Music magazine, most recently for the
publication’s August 2011 cover story about the
role of FOX’s Glee in music education.
Art Joslin, a student of
Professor Jerold Siena, has
been appointed to the position of adjunct professor of
voice at Cornerstone
University and Aquinas
College, both in Grand
Rapids, Michigan.
Graduate student Aaron Kaplan, (B.M.E/B.M.
’11) was the music director for a new historical
musical, 1787: We the People that premiered at the
Virginia Theatre in Champaign. Senior Corbin
Dixon played the role of Alexander Hamilton,
and Sam Dewese, baritone, played the role of
Washington’s personal valet slave.
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Brian Kellum recently returned from a threemonth visit to Venezuela, funded by the School
of Music’s Presser Foundation. Traveling through
much of the country, he collected data for his
dissertation study on access to music education
within the case of El Sistema, the Venezuelan
System of Youth Orchestras. While there, he
conducted a rehearsal of Beethoven’s Fifth
Symphony with talented students from the
Barlovento region east of Caracas. He currently
teaches strings part time in Atlanta’s Fulton
County Schools while he completes his Ed.D.
Zachary Klobnak and Jin-Kyung Lim, students
of Professor Dana Robinson, have accepted positions as organist of Wesley United Methodist
Church in Urbana and organist of the Lutheran
Church of Los Altos, California, respectively.
Adam Kosberg, a doctoral student of Professor
Elliot Chasanov, won the bass trombone audition for the 2011 American Wind Symphony
conducted by Robert Boudreau.
Eun Sun Kuk, soprano, won first prize in the
2011 Southern Illinois Young Artist Association’s
8th Annual Vocal Competition. She also won the
Bella Voce Award, as well as the Bravo Award
at the Bel Canto Foundation Competition in
Chicago.
Gina Leija, a flute master’s candidate, continues
in her position with the Army Field Band.
Colin Levin has appeared with Opera Boston
and St. Petersburg Opera in a variety of productions. He will sing the East Coast premiere of
Jake Heggie’s song cycle for baritone, “For a
Look or a Touch” under the supervision of the
composer.
Jackline Madegwa, a doctoral student in vocal performance and literature,
was a finalist in the 2010
Illinois District NATS auditions. She was a finalist and
audience favorite for the
Rochester Oratorio Society
Classical Idol Competition and finalist for the Bel
Canto Foundation Competition, and she was a
Stern Fellow for SongFest 2011 at Pepperdine
University.
Graduate harp student Molly McKenzie
(B.M./B.M.E. ’11) was awarded the Roslyn Rensch
Fellowship in the fall of 2011.
Polly Middleton, Ed.D. candidate, is the new
assistant director of athletic bands at Virginia
Tech in Blacksburg, VA. This position includes
working with the Marching Virginians, directing the Hokie Basketball Band, conducting the
Symphony Band, and teaching sight singing.
Middleton also plays horn in a faculty chamber
group.
Phil Pierick, master’s student and saxophone teaching assistant, was a semifinalist in the Third JeanMarie Londeix International
Saxophone Competition,
held in July 2011 at Mahidol
University in Bangkok,
Thailand.
Eugene Power was appointed music director of
the McHenry County Youth Orchestra.
Katy Reiswig, mezzo-soprano, was cast as
Butter Cream Lady in Brigadoon with the Music
by the Lake Festival in the summer of 2011.
Matthew Scollin was a member of the Santa Fe
Opera Apprentice Program and was featured in
a photomontage with Nathan Gunn (B.M. ’94) in
Opera News.
Ju Ri Seo, was selected as a
composition fellow at the
Tanglewood festival this
past summer. Her commissioned piece, Im Mai, was
also premiered at the
SoundSCAPE Festival in
Pavia, Italy. As recipient of the Kate Neal Kinley
Memorial Fellowship, she will study in Italy this
year.
Jennifer Shanahan attended Domaine Forget,
was a finalist in the Illinois Flute Society Young
Artist Competition, was selected to participate
in the National Flute Association’s Collegiate
Flute Choir, and attended the Madeline Island
Music Camp.
Jenny Shin won second
place in the Crescendo
Music Awards and won the
Illinois Flute Society Young
Artist Competition.
Yu-Chi Tai won the 34th
annual Young Artists Piano
Concerto Competition held
at Olivet Nazarene
University. Two other UI
students, Hye Young Kim
and Kyu-Youn Sim, were
among the six finalists.
Candace Thomas, a doctoral student, won the
2010/11 Meir Rimon Commissioning Grant that
funded four new pieces featuring horn, all of
which were given their premiere on her recital in
Smith Hall in May 2011.
Noël Wan was featured in
a concert tour in the
Netherlands in February
2011 as the first-prize winner of the 1st International
Harp Competition in The
Netherlands (2010) that
she won at the age of sixteen. She was also featured in a solo recital at the prestigious Eleventh
World Harp Congress in Vancouver, BC, in July
2011.
Ashley Fu-Tsun Wang is
the winner of the Yvar
Mikahshoff Pianist/
Composer Commissioning
Project. The commissioned
work will be premiered in
Carnegie Hall’s Zankel Hall
in spring 2012. Ashley’s
compositions have been selected to be performed at two international music festivals: the
Music11 Festival in Blonay, Switzerland, and the
Bowdoin International Music Festival. Her string
quartets were performed on MIVOS Quartet’s
Italy and Asia tours. In 2010, Ashley was the recipient of the American Composers Forum’s
Encore Grant. Also in 2010, Ashley’s composition Intimate Rejection, for solo piano, was released under the ArpaViva Foundation Inc. label,
and was broadcast on WNYC as part of John
Schaefer’s New Sounds program. She is a doctoral student of Professor Reynold Tharp.
Kai-Hsuan Wang, a D.M.A. candidate, continues in her position as flute professor in Tainan
University in Taiwan.
Kathleen Winters, a graduate flute student,
won a position as second flute with the Duluth
Symphony and was selected to attend the
Aspen Music Festival.
Jonathan Young was selected as alternate
winner in the Mu Phi Epsilon International
Competition. One of only five finalists during
the final round held at the Eastman School of
Music, he performed his program on a recently
completed replica of the 1776 Casparini organ
in the Holy Ghost Church in Vilnius. The organ
was constructed using historical techniques
by the Göteborg, Sweden, Organ Art Institute
in conjunction with their restoration and
documentation of the original instrument. The
replica instrument is housed in Christ Church,
adjacent to the Eastman campus. Jonathan has
been appointed director of music at Immaculate
Conception Parish in Mattoon.
Marc Zyla, a doctoral student, won the principal
horn position of the Quad Cities Symphony and
the Champaign-Urbana Symphony.
MORE GRADUATE STUDENT RESEARCH NEWS
Hannah Chan-Hartley presented a paper on
Wagner reception at the American Musicological
Society conference in San Francisco.
Eduardo Herrera presented at the annual Society for Ethnomusicology meeting in
Philadelphia and at a conference in celebration of the 50th anniversary of the Indiana
University Latin American Music Center in
Bloomington, IN. His article, “El compositor uruguayo Coriún Aharonián en sus setenta años,”
was accepted for publication in an upcoming
issue of the Latin American Music Review.
Matthew Knight presented at the Society for
Ethnomusicology conference in Philadelphia.
His project is titled, “Music, Dancing, and Other
Tools of the Devil: Forbidden Performing Arts in
Anabaptist Religious Communities.”
Marie Rivers Rule will be presenting at the
Brahms in the New Century conference in March
2012 in NYC.
Nick Stefanic presented the results of his M.M.E.
thesis, “Developing Notational Understanding
Through an Icon of Rhythm: An Embedded
Mixed-Methods Study” at the 2011 Symposium
on Music Teacher Education (SMTE) in
Greensboro, NC.
Michael Warner presented his paper, “A Little
Prelude and the Scherzo That Almost Wasn’t:
Beethoven’s ‘New Path’ and the Early Nineteenth
Century Bach Revival,” at the New Beethoven
Research Conference at San Jose State
University.
Congratulations to our students for their outstanding work and accomplishments!
2010-11 AWARD RECIPIENTS
Thirteenth Annual 21st Century Piano Commission Award: William Andrew Burnson (composition/ theory) and
Casey G. Dierlam (piano)
Theodore Presser Undergraduate Music Award: Jennifer Chihiro Kashiwakura (instrumental music education and
bassoon)
Theodore Presser Graduate Music Award: Christopher Butler (percussion)
Chancellor’s Scholars:
Katherine V. Bokenkamp (voice); Erin M. Brooker (instrumental music); Kelsey L. Cunningham (music education);
Brendan J. Doshi (jazz performance); Colin H. Drozdoff (jazz performance); Erik J. Elmgren (instrumental music);
John Jaworski (instrumental music); Holly M. Leyden (music education); Jeremy N. Loui (music education);
Emily Malamud (music education); Alek J. Mann (music education); Tabitha J. Nelson (music); Sylvia L. Niemira
(music education); Karen M. Theis (music education); Karen A. Wanner (music education)
Kate Neal Kinley Memorial Fellowship: Ju Ri Seo (composition)
Clara Rolland Piano Award: Remington Clark (music education)
Paul Rolland Memorial Violin Award: Brian Ostrega (violin)
Krannert Debut: Patrycja Likos (cello) and Chu-Chun Yen (piano)
University of Illinois Symphony Orchestra Concerto Competition: Minjing Chung (cello); Colby Fahrenbacher (tuba);
Taekyung Lee (piano); first alternate - Han-Jui Chen (double bass); second alternate - Jacob Adams (piano)
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Alumni Notes
Rabin Honored for His Lifetime Commitment to Music for All Children
Sally Bernhardsson, Director of Development, School of Music
Dr. Rabin with Professor Louis Bergonzi.
Dr. Marvin Rabin, (Ed.D. ‘68) has been honored with a Lifetime Achievement Award in
Music Education by the Wisconsin Foundation
for School Music. This award salutes and honors Wisconsin natives or residents who have
made outstanding contributions to music
and music education throughout their lives.
To date, only two people have been honored
with this award.
Widely known for his commitment to providing all youths with opportunities to learn music, Rabin, 95, founded the Wisconsin Youth
Symphony Orchestra in 1966 and served as its
conductor for six years. He also helped create
the National String Workshop held each summer for music teachers from around the U.S.
and initiated a graduate program in string
development at the University of WisconsonMadison. He also commuted to inner-city
Milwaukee to teach Suzuki violin to lowincome preschoolers. Today, the Wisconsin
Youth Symphony Orchestra runs three full
orchestras, a string orchestra, a chamber
music program, a harp program, a percussion ensemble, and a brass choir program for
young students.
Throughout his career, Rabin has conducted
in 48 states and studied the youth orchestra movement in countries around the
world. Prior to moving to Wisconsin, Rabin
founded the Greater Boston Youth Symphony
Orchestra while on the faculty of Boston
University and also developed the Central
Kentucky Youth Symphony Orchestra while
on the faculty of University of Kentucky.
Rabin started the violin in his hometown of
South Bend, Indiana, and then won a scholarship to a small Kentucky college where he
taught the viola in exchange for room, board,
and tuition. Through a GI bill, he received his
master’s degree from the Eastman School of
Music and then earned his doctorate from the
UI School of Music.
Rabin recently visited the School of Music as
a guest of the Music Education Division. He
spoke to music education and orchestral conducting students and attended rehearsals of
the UI Symphony Orchestra and Philharmonia
Orchestra.
Rosene Recognized for Contributions to Music Education by Illinois State University
B. Suzanne Hassler, Contributing Writer
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Dr. Paul Rosene (Ed.D.
’76) was inducted
into the Illinois State
University College of
Fine Arts Alumni Hall
of Fame, the first to
be so honored by that
university. A professional music educator,
with more than 45 years of experience as
a supervisor and band director at Illinois
schools and with the United States Air Force,
this honor was attributed to Rosene’s “truly
outstanding” leadership and “amazing contributions and lifelong work as an educator
in Illinois schools.”
Rosene’s work is well known throughout
the Midwest through his coordination and
supervision of thousands of music student
teachers for Illinois State. In addition, he has
served on many state and national committees for the improvement of music education and appeared at numerous state music
education conferences. His doctoral research on “A Field Study of Wind Instrument
Training for Educable Mentally Handicapped
Children,” completed at the University of
Illinois under the supervision of Dr. Charles
Leonard, has been presented at three international conventions.
While a professor of music at ISU, Rosene
founded its current music therapy degree
program; organized and directed the
University Handbells/Choirchime Ensembles
and the Central Illinois Community Concert
Band; and taught many music education
courses. His public school positions con-
sistently produced contest winning school
bands.
Even while a young musician at Elgin High
School, Rosene was totally immersed in making music as a member of the dance band
and high school orchestra and as president
of the EHS Band during his senior year. He
and his wife, Doris, who is also a music educator, are now retired and live in Orlando,
Florida, where he continues to serve as a
guest conductor, clinician, and education
workshop leader for music therapy programs, school band and orchestra festivals,
and handbell/choirchime programs, as well
as an adjudicator for school band and orchestra contests.
PLANNED GIVING
Creating a Legacy of Excellence
Flautist and American Composer Robert Wykes Is Celebrated
B. Suzanne Hassler, Contributing Writer
Robert Wykes
its Distinguished Faculty Award. After
(D.M.A. ’56)
his retirement in 1989, he was invited
was honored
to be composer-in-residence at the
by peers with
Djerassi Foundation in Woodside,
a retrospecCalifornia, and a visiting scholar at
tive concert,
Stanford University’s Computer Center
“The Music of
for Research in Music and Acoustic.
Robert Wykes
The Philadelphia Orchestra, the
in Celebration of His 85th Birthday,”
Minnesota Orchestra, the St. Louis
held on February 22, 2011, in conjuncSymphony, the National Orchestra
tion with the Danforth University
and the Pro Arte Symphony of Brazil,
Chamber Music Series. The concert
and the Denver Symphony have
brought Wykes’s art and life together
all performed Wykes major orcheswith colleagues and friends on a protral works. A Lyric Symphony won a
gram featuring repertoire composed
Friedham Award in 1980. More reover the past 30 years and performed
cently, his work was performed at the
by members of the St. Louis Symphony
Royal Academy of Music.
Orchestra and Trinity Piano Trio, with
In addition to symphonic and choral
the honoree taking the part of the
music for ensembles
reader in Lake
“Besides his affable and
and solo performMusic, which he
ers, Wykes has
composed in 2004 engaging nature and his
written for the
for solo bass flute.
energetic approach to life, and theater, dance,
Born in Aliquippa,
his being rather encyclopedic and film. His scores
Pennsylvania, in
for Guggenheim
1926, Wykes began in matters musical in the
Productions are
his life in music at
region, Bob Wykes is one
now in the National
age nine; the flute
of those determined artists
Archives. They inwas his first instruclude the Academy
ment. As a teenag- who at some point arrives at
Award-winning
er, he won a Young a stage where he or she can
Robert Kennedy
Artists audition
Remembered; two
be
called
a
living
American
and performed as
Cine Golden Eagle
treasure.”
a soloist with the
Award winners; John
Pittsburgh Little
– Robert W. Duffy, St. Louis Beacon F. Kennedy 1916Symphony. After
February 16, 2011 1963, commissioned
service in World
by the Kennedy
War II, he earned
Library; and The Eye of Thomas
his master’s degree in music theory
Jefferson, part of the National Gallery
at the Eastman School of Music and a
of Art collection. Monument to the
D.M.A. at the University of Illinois.
Dream marries Wykes’s music with the
In 1955, Wykes joined the Washington
striking visual imagery of filmmaker
University faculty in St. Louis and
Charles Guggenheim in a testament to
continued to play the flute with the
human industry that has been seen by
St. Louis Symphony Orchestra and
millions and was winner of the Venice
the Studio for New Music. He became
Film Festivals Mercuro d’Oro.
full professor in 1965, and in 1975,
For a complete listing of compositions by Robert
Wykes, visit ascap.com.
the university recognized him with
A significant portion of the School of Music’s
annual gift income comes from realized bequests
from our alumni and friends. Donors who
remembered the School of Music in their estate
plans provide critical funding to establish
scholarships, awards, fellowships, and other
student and faculty support.
The School of Music would like to recognize the
following alumni and friends who have chosen
to remember the School through a bequest,
charitable trust, or other planned gift vehicle:
Anonymous
Mr. Gerald E. and Mrs. Linda Allen Anderson
Mr. Alan J. and Mrs. Joyce D. Baltz
Mr. Norman I. and Mrs. Mary Jane Beasley
Ms. Martha S. Beerman
Mr. Patrick J. Bitterman
Prof. Stephen Blum
Mr. David A. Bruns
Mr. Richard R. Clark
Mr. Stanford J. Collins
Mr. Roger R. and Mrs. Shirley E. Cunningham
Ms. Josephine Daniel
Mr. Calvin D. and Mrs. Edna M. Filson
Mr. James and Mrs. Candace Frame
Mr. Preston L. and Mrs. Cathy L. Gale
Dr. James and Mrs. Susan Hatfield
Dr. Edward N. and Mrs. Ferial Hook
Mr. Donald M. and
Mrs. JoAnne Unsell Houpt, Jr.
Mr. Larry R. Houtz
Dr. Raymond V. and Lori L. Janevicius
Mr. Edward J. and Mrs. Bettye M. Krolick
Mr. Dean T. and Mrs. Nancy Langford
Mr. Randall S. Lindstrom
Dr. Ralph E. and Mrs. Ann S. Mason
Ms. Barbara C. and Mr. Michael J. McDonnell
Mr. Donald E. Messman
Dr. Peter A. and Dr. Sharon D. Michalove
Dr. George W. Mitchell III and
Dr. Tamara T. Mitchell
Mr. James and Mrs. Virginia H. Nakada
Mr. William T. Scott III
Mr. Frederick and Mrs. Willodean Simon
Mr. R. Marc Sims, Jr.
Mr. Robert V. Sperlik, Jr.
Prof. Albert E. and Mrs. Diane H. Staub
Mr. Howard A. Stotler
Mr. Craig B. Sutter
Mr. David A. and Mrs. Deborah M. Trotter
Mr. George Unger
W. Cornelius VanPappelendam Estate
Ms. Sharon M. West
Ms. Thelma Willett
Mr. John T. Winburn
Mr. Robert L. Zarbock
If you are interested in information about establishing
a planned gift to benefit future generations of music
students at the University of Illinois, please contact Sally
Bernhardsson, Director of Development, College of Fine
and Applied Arts, at (217) 244-4119.
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Alumni News
Sally Takada Bernhardsson, Director of Development
1950-1959
1970-1979
Robert Wykes (D.M.A. ’55)
was honored with a retrospective concert, “The
Music of Robert Wykes in
Celebration of His 85th
Birthday.” See the article in
the Alumni Notes section of
this issue for the full story.
Mary Ferer (Ph.D. ‘76), associate professor of
music at West Virginia University, has a book
in press that is scheduled to appear in March
2012: Music and Ceremony at the Court of Charles
V: The Capilla Flamenca and the Art of Political
Promotion (Boydell and Brewer). This year she
is president of the Allegheny Chapter of the
American Musicological Society.
1960-1969
Jeffrey Kurtzman (Ph.D. ‘72) gave the 2011
Robert Stone Tangeman Lecture at the
Yale Institute of Sacred Music on “Claudio
Monteverdi’s Vespro della Beata Vergine of 1610.
What is it and why was it published?” preceding
a performance of the Vespers by the Yale Schola
Cantorum. Sherezade Panthaki (M.M. ‘01) sang
in the performance.
Marvin Rabin (Ed.D. ‘68)
visited the School of Music
recently as a guest of the
Music Education Division.
See the article in the Alumni
Notes section of this issue
about Dr. Rabin’s recent
lifetime achievement award.
Anne Schnoebelen (Ph.D. ‘66) was honored by
The Society for Seventeenth-Century Music at
the 2010 conference in Houston, having been
conferred honorary membership, the society’s
highest honor. She is the Joseph and Ida K.
Mullen Professor Emerita of Musicology at Rice
University and is currently completing a database of all Mass music published in Italy from
the sixteenth to the early eighteenth centuries.
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Marvin Lamb (D.M.A. ‘77) continues to serve as
professor of music and head of the composition
program at the University of Oklahoma, Norman,
where he served as dean of the College of Fine
Arts from 1998-2005. His recent chamber music
and orchestral performances include performances by Ensemble ACJW at Carnegie Hall, the
Kennesaw State University Orchestra, the Los
Angeles New Music Ensemble, the University of
Toledo New Music Festival, and the University
of Washington New Music Ensemble. He was
Robert Morgan (Ph.D. ’74), retired jazz studies
director of the High School for the Performing
and Visual Arts in Houston, Texas, has trained
many students during his career who have made
national and international reputations for themselves. Most recently, jazz pianist and HSPVA
grad Jason Moran was awarded a MacArthur
Fellowship. The level of interest being paid to
the magnet school’s jazz musicians in national
publications has also grown to include The New
York Times. In January 2011, New York City’s
TriBeCa neighborhood in concert performances,
dubbed “713 to 212: Houstonians in NYC” (organized by Moran and with Morgan, his former
teacher in attendance), were the subject of a
lengthy review, “Houston’s Jazz Stars, Celebrated
in TriBeCa.” The critic’s assessment took approving notice of the artists’ extensive Houston
roots, particularly their shared background at HSPVA and teacher Morgan, specifically.
selected as the 2010 OMTA Commissioned
Composer of the Year and has been a guest
composer at the University of Washington,
Seattle; Penn State University; Hamilton (NY)
College; and the University of Tulsa. Lamb is a
former student of Paul Martin Zoon and Ben
Johnston.
Lucinda Lawrence (B.M.
’77, M.M. ’79), composer
and UI staff member, wrote
the score for the musical
1787: We the People, an original work about the writing
of the U.S. Constitution,
which premiered at the historic Virginia Theatre
in Champaign on June 30, 2011. The UI Opera
Studio, under the direction of Professors Dawn
Harris and Ricardo Herrera, furthered development of the musical with a semi-staged presentation of several songs at the Krannert Center for
the Performing Arts in 2009, and videographer
Brian Jewett was engaged to film the production’s progress for a documentary concerning
the community-wide project. The stage director
was Leonard Rumery. (Alumni may remember
taking graduate studies with him in the Choral
Music Division; he is now an attorney in
Monticello, Illinois.) The music director was
Aaron Kaplan (B.M./B.M.E. ’11), who is currently
pursuing a master’s degree at Illinois in instrumental conducting. Several current and former
students—music majors of the UI School of
Music, as well as non-majors—made up the 1787
ensemble and production team.
Rodney Mueller (Ed.D. ‘79) The Illinois Student
Chapter of the American String Teachers
Associations and Champaign Centennial High
School Orchestra co-produced an October evening concert in Smith Auditorium by Barrage,
a high-octane string group that features an
international, multi-talented cast performing an
eclectic mix of music, song, and dance. Students
participated in a workshop with the group in
the afternoon at Centennial High School. The UI
students learned the world of the work of eclectic (and electric) string teaching and about organizing a collaborative concert. Barrage’s visit is
one event of the multiple, ongoing connections
that exist between the music education strings
program and Dr. Mueller, a string and orchestra
specialist with Champaign Schools.
Paul Rosene (Ed.D. ’76) was
the first inductee into the
Illinois State University
College of Fine Arts Alumni
Hall of Fame. Please see the
article in the Alumni Notes
section of this issue for the
full story.
Alma Santosuosso (Ph.D., ‘79), professor and
coordinator of music history at Wilfrid Laurier
University, presented “The Medieval Labyrinth”
for the Sixth Annual Colloquium in Celebration
of Medieval Studies at Laurier in October 2010.
Jack Wise (B.M. ’74) and his wife, Barbara Given
Wise (B.M. ’75), have both retired from long successful teaching careers. Jack worked 34 years
in CUSD #300, the last 18 years at Algonquin
Middle School leading the concert and jazz
band programs at Dundee-Crown High School.
He also served on program review committees
advocating for balance in funding and maintenance of music programs in that large district
and was nominated for the 2009-2010 Q & F
Chicagoland Educator of the Year, sponsored
annually by Quinlan & Fabish Music Company.
Barbara taught middle school, high school and,
for the last 25 years, at the elementary level,
each year exciting the minds of more than 700
first- through fifth-graders with the wonder of
music and performance. The Wises look forward
to continued playing and performing and to
time spent with family.
Jerry Young (M.S. ’78, Ed.D. ’80) was elected vice-president/president-elect of the
International Tuba/Euphonium Association last
spring. A former member of the organization’s
board of directors and twice the editor-in-chief
of its journal, his new role began July 1, 2011.
Young is professor emeritus of tuba/euphonium and music education at the University of
Wisconsin-Eau Claire, where he was a member
of the music faculty from 1983-2011. Young’s
edition of The Arban Complete Method for Tuba
has been the international top-selling method
book for tuba since 1996. He serves as a board
member of the Leonard Falcone International
Euphonium and Tuba Festival held each summer
at the Blue Lake Fine Arts Camp and is a former
member of the music faculty of the Interlochen
Arts Camp. In 2010, he received the Clifford
Bevan Award for life-long contributions to research and low brass scholarship. While at the
University of Illinois, he was a student of Daniel
Perantoni, Charles Leonhard, Richard Colwell
(Ed.D. ’61), and Mary Hoffman.
1980-1989
Daniel Adams (D.M.A. ’85)
currently serves as president of the South Central
Chapter of the College
Music Society. In July, his
trio, “Intrusions,” for oboe,
bassoon and piano, was
performed at Ewha Womans University in Seoul,
South Korea, as part of the College Music Society
2011 International Conference. While attending
the conference, Adams presented a master class
to composition students of Dr. Park Eun Hye.
Following the conference, he met with graduate
and undergraduate composition majors who
presented scores and recordings of their music
to him and discussed their musical activities and
professional goals. He also shared several of his
compositions and spoke about the artistic, economic, and professional aspects of music composition in the U.S.
Philip Bohlman (Ph.D ’84) has been elected a
Fellow of the American Academy of Arts and
Sciences. Bohlman is currently professor of music at the University of Chicago, specializing in
ethnomusicology and an advisee of Professor
Bruno Nettl. The Academy, founded in 1780 by
John Adams, consists of approximately 3000
leaders in all fields of academia, government,
the arts, and public life. At present Bohlman is
one of six ethnomusicologists who are fellows.
Thomas E. Caneva (B.M.E.
’81) was recently promoted
to full professor at Ball State
University. As director of
bands at BSU, he conducted
the wind ensemble at the
Indiana Music Educators
Association State Convention in January and the
College Band Directors National Association
National Conference held in Seattle, WA, in
March. The CBDNA performance marked the first
national convention appearance by a Ball State
University concert band.
Wyeth W. Duncan (B.S. ’85,
M.S. ’86), who began his
service as a church musician
40 years ago, delivered the
keynote address,
“Reflections on 40 Years:
Lessons I’ve Learned,” during the 10th Black Sacred Music Symposium
sponsored by the UI Black Chorus in February
2011. Duncan was the organist and/or choir
director for 20 years for African Methodist
Episcopal (AME) churches in North Chicago,
Champaign, and Waukegan, Illinois. In 1989, he
was licensed and ordained as a minister and is
now an active member of Christ Church Lake
Forest, where he serves as organist, pianist, worship leader, and choir accompanist. As an educator, he worked nearly 20 years for various public
school districts within Lake County, including 12
years as the choral teaching assistant and piano
accompanist at Lake Forest High School, in
which role he accompanied choirs on tours of
Germany, France, and Italy. For two years, he was
the director of choral music at Warren Township
High School in Gurnee, Illinois. Currently, he is an
adjunct instructor at the College of Lake County,
where he accompanies three choirs and is the
teaching assistant to Director of Choirs Dr. C.
Charles Clency.
Barbara Haggh-Huglo (Ph.D. ‘88) professor
of musicology at the University of Maryland,
College Park, published “Credit for Music in
Court and City in the Low Countries, 14671500,” in Essays in Renaissance Music in Honour
of David Fallows, ed. Fabrice Fitch and Jacobijn
Kiel (Boydell and Brewer, 2011), 318-25, and a
review in Early Music 38 (2010). She is preparing
a monograph on the 9th-century treatise Musica
disciplina and books on a 15th-century Marian
office and on two ordinals from Ghent and
Dijon. She is vice-president of the International
Musicological Society and is past chair of the
IMS Study Group “Cantus Planus.”
Marcello Sorce Keller (Ph.D. ‘86) has been appointed professor and board member of the
Mediterranean Institute of the University of
Malta. He recently authored “L’Italia in musica.
Riconstruzione ad ampi squarci (e un po’ temeraria) di un’identita problematicà” [Italy in
music: A broadly drawn (and somewhat bold)
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Alumni News
reconstruction of a problematic identity] in
Musica/Realtà 30 (2009), and reviews in Current
Musicology 87 (2009) and Yearbook for Traditional
Music 41 (2009).
John Mula (B.M.E. ’86) has been inducted into
the Hall of Fame of Monticello High School. A
clarinetist and educator, Mula has been a member of “The President’s Own” US Marine Band in
Washington, D.C. He has soloed with the band
and orchestra six times and has performed
regularly at the White House. Mula is also a tour
coordinator for the Marine Band’s annual concert tours, performing in and managing travel
and concert site details in 48 states. He received
the Navy Marine Corps Achievement Medal
for his work on the 2002 Concert Tour of the
Northeastern States.
Linda Veleckis Nussbaum (B.M. ’86) and
Andrew Eckard (B.M. ’86, M.M. ’88) had a
reunion with their former teacher, Professor
Emeritus Paul Vermel, in June 2010 and
celebrated the occasion with a photo.
Maestro Vermel is currently conducting the
Northwest Symphony Orchestra and enjoying life in the Chicago suburbs; Linda is an
active freelancer and orchestra manager
for the Illinois Philharmonic Orchestra; and
Drew is freelancing in Los Angeles after 15
years with the Honolulu Symphony.
Triumphs and Retirement Years,” Studi Musicali
38 (2009).
1990-1999
Don Cabrera (M.M. ’99) was appointed music
director of Green Bay Symphony.
Steven M. Whiting (Ph.D. ‘91) associate professor of musicology at the University of Michigan,
published “Serious Immobilities: Musings on
Satie’s Vexations,” Archiv für Musikwissenschaft
67 (2010).
2000-2009
Theresa Allison (M.D. ‘06, Ph.D. ‘10) has been
appointed assistant clinical professor of family and community medicine and geriatrics at
the University of California in San Francisco. Dr.
Allison was an advisee of Professor Emeritus
Bruno Nettl, and her Ph.D. dissertation was an
ethnomusicological study of a nursing home
emphasizing music and art.
David Anderson (M.M. ’06) was appointed music director of the Lake Geneva Symphony.
Adrian Bettridge-Wiese
(B.M. ’08, MHRIR ’10) began
working as a development
assistant for the Aspen
Music Festival and School in
January 2011.
Keturah Bixby (B.M. ‘08) received an honorable mention from the 2011 National Science
Foundation Graduate Research Fellowships.
She presented a poster at the Society for Music
Perception and Cognition 2011 Conference of
research showing that perceptual grouping in
musicians differs from that of non-musicians.
She is currently in the Cognitive Science Ph.D.
program at the University of Rochester.
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Rita Steblin (Ph.D. ‘81) authored six articles published in 2009-10 on the subjects of
Beethoven’s name (The Beethoven Journal 24);
Beethoven’s ‘Immortal Beloved’ (Österreichische
Musikzeitschrift 64/2 and Beethoven-Studien
8); Carl-Maria von Weber (Weberiana:
Mittelungen der Internationalen Carl-Mariavon-Weber-Gesellschaft 19); Early Viennese
Fortepiano Production in 1777-1783 (Studien
zur Musikwissenschaft 55); The Repertory of
the Court’s Music Ensemble in 1808-1812
(Perspektiven 9); and two reviews in Newsletter of
the American Musical Instrument Society 38, and
Österreichische Musikzeitschrift 64.
Stephen Willier (Ph.D., ‘87) associate professor of music, Temple University, authored “The
Illustrious Musico Gasparo Pacchierotti: Final
Elizabeth Buckley (M.M.
‘98, D.M.A. ’09) sang her
début recital at Carnegie
Hall as the 2011 first-prize
winner of the Barry
Alexander International
Vocal Competition and
competed in the Concert Artists Guild Victor
Elmaleh Competition in the fall. Her début solo
CD, Must the Winter Come So Soon? was released
in September and features Brahms’ Zwei
Gesänge with Grammy Award-winning violist
and University of Illinois faculty member
Masumi Per Rostad of the Pacifica Quartet and
pianist and SOM alumnus Dewitt Tipton (M.M.
’79). In 2010, Elizabeth was named director of
music at St. Matthew Lutheran Church and is
currently preparing for the upcoming recording
of Élisabeth-Claude Jacquet de La Guerre’s sacred cantatas with harpsichordist and UI faculty
member Charlotte Mattax-Moersch and
Benjamin Hayek (B.M. ‘96, M.M. ‘98), gambist
and SOM alumnus.
Stephanie Chigas, mezzo-soprano and former
student of Professor Sylvia Stone, is now a permanent member of the regular ensemble at the
Metropolitan Opera House.
Sara Fraker (D.M.A. ’09) has been named
principal oboe of the Tucson Symphony
Orchestra. Sara was selected to perform at the
2010 and 2011 conferences of the International
Double Reed Society. She is also a founding
member of the Paloma Winds, a quintet that
performs throughout Arizona. Sara and her husband Chris Fraker (M.M. ‘05) recently celebrated
the birth of their son, Ethan Patrick.
Jennifer Gartley (D.M.A. ’09) is entering her
fourth season as an artistic director and flutist
for Chamber Project St. Louis (www.chamberprojectstl.com) founded in 2008 with two other
University of Illinois graduates. She is also principal flutist for Winter Opera St. Louis and is an applied faculty member at McKendree University
in Lebanon, IL. In addition to a busy freelancing
schedule, she works in development and operations for Washington University in St. Louis.
Audrey Good (B.M. ’07), a
former student of Professor
Kaz Machala, won the second horn position with the
Toronto Symphony
Orchestra.
Claire Happel (B.M. ‘04) was a fellowship recipient at the 2011 Saratoga Harp Colony in New
York.
Rebecca Hinkle (M.M. ‘07) has a new job with
Carnegie Hall’s Weill Music Institute. She is manager of “The Achievement Program,” which offers
professional training workshops that provide
young artists with unique opportunities to explore aspects of musical life with leading artists
of our time.
Julia Kay Jamieson (M.M.
‘02) was commissioned to
compose tiktaalik for multiple harps or voices that
was premiered by the
Illinois Summer Harp Class
(iSHC) Harp Jam in June
2011. She continues to perform as the substitute
principal harp for the Cleveland Chamber
Symphony in Ohio.
Jing-I Jang (M.M.
‘04 harp, M.M. ‘06
piano, D.M.A. ‘09)
gave a lecture-recital on Parish
Alvars’ Fantaisie on
Bellini’s Norma for
harp and orchestra at the Eleventh World Harp
Congress in July 2011 derived from her D.M.A.
thesis. Her edition of Parish Alvars’ previously
unpublished work, including her own piano
reduction, full score and parts, and solo harp
part, was published by the Wales-based UK publisher Adlais Music in July 2011. Several international music retailers are distributing her edition.
Elizabeth Jaxon (B.M. ‘06) was appointed to the
full-time position of lecturer of harp at Mahidol
University College of Music in Bangkok, Thailand,
where she is also the principal harpist of the
Thailand Philharmonic Orchestra. Her harp duo
with Marta Power Luce, the Atlantic Harp Duo,
released its premiere CD, A Journey with Chopin
& Sand, in May 2011 (recorded in the Krannert
Center for the Performing Arts). She has also
been named an ambassador of the Dutch Harp
Festival and serves as editor of the festival’s
newsletter as well as the official blogger.
Stacey Jocoy (Ph.D. ‘05) has been promoted
to associate professor of musicology with tenure at Texas Tech University. In the past year
she authored two articles on Henry Lawes in
Community and Conviviality in the Work of Robert
Herrick, ed. Tom Cain (Oxford University Press,
forthcoming), and on ballads in Huntington Ms.
16522, in Literature Compass (in press). She also
presented papers in five conferences: Society
for Eighteenth-Century Studies, 2010 and 2011;
Collaboration and Networks in English Manuscript
Culture c.1500-1700, University of Southampton,
UK, 2010; Sixteenth-Century Society, 2010; and
South Central Society for Eighteenth-Century
Studies, 2011.
Travis Jürgens (M.M. ’09)
won second prize in The
American Prize in
Conducting. Jürgens is music director/conductor of
the Philharmonia of Greater
Kansas City. The American
Prize is a series of new non-profit national competitions unique in scope and structure, designed to recognize and reward the very best in
the performing arts in the United States.
Seth Killen (M.M. ’08) is the assistant professor of voice and director of opera workshop at
Eastern Illinois University.
Ilana Lubitsch (B.M./B.M.E ‘98, M.M. ‘00)
was soprano soloist for four concerts at the
Breckenridge Music Festival in Colorado.
Carolyn Kuan (M.M. ‘01) was appointed music
director of the Hartford Symphony.
Charles W. Lynch III (M.M. ‘02, D.M.A. ‘09)
presented a recital at the 39th National Flute
Association Convention in Charlotte, North
Carolina, with flutist Kimberlee Goodman in
August 2011. He has also been appointed as
adjunct harp instructor at St. Mary’s College in
Notre Dame, Indiana.
Jie-Youn Lee (D.M.A. ‘05) performs as principal
flute of Prime Philharmonic Orchestra and as
flutist of the Euterpe Woodwind Quintet, the
Noul Trio, and the Soloists Chamber Group and
is instructor in several universities in the Seoul,
South Korea area.
Erin Lodes (B.M.E. ’06, B.M. ’07), a band and
music technology teacher at Urbana Middle
School, was honored as an Apple Distinguished
Educator for her use of technology in the
classroom. The award aims to recognize and
to contribute to the professional development
of teachers who use Apple technology and to
create a community of teachers who can work
together to exchange ideas and projects.
Sarah Long (Ph.D. ‘08), Marie Curie Postdoctoral
Fellow at Katholieke Universiteit Leuven,
Belgium, recently published the article “La musique et la liturgie de la confrérie des notaires
à la cathédrale de Tournai à la fin du Moyen
Âge,” in Tournai Art et Histoire 4 (2011), as well
as a review in the Bulletin Codicologique of the
journal Scriptorium, 2010. She has in press (with
co-authors Inga Behrendt and Pieter Mannerts)
Catalogue of Notated Office Manuscripts
Preserved in Flanders. Volume 1 of Antiphonaria:
A Catalogue of Notated Office Manuscripts,
c.1100-c.1800. (Turnhout: Brepols, 2011). She
presented the paper “Plague, Popular Devotions,
and the French Realm: Musical and Textual
Imagery in Monophonic Votive Masses from a
Late Fifteenth-Century Parisian Confraternity
Manuscript” at the annual meeting of the
American Musicological Society in San Francisco
in November 2011.
Peter Madsen (D.M.A. ’00),
associate professor of music
in the College of
Communication, Fine Arts
and Media at The University
of Nebraska at Omaha, was
one of nine faculty members recognized in April 2011 by the UNO
Alumni Association with an Outstanding
Teaching Award during the Faculty Honors
Convocation. Peer committees in each college
chose the recipients, each of whom also received a $1,000 award. Madsen’s primary areas
of focus are the trombone studio and jazz program. Under his direction, the UNO jazz ensembles have performed at numerous regional and
national conferences and jazz festivals. They
have also conducted three international tours. In
addition to his classroom teaching, Madsen coordinates three major educational outreach
events each year that draw more than a thousand students, teachers, and parents to campus
from across the country.
Joanna Martin (B.M. ‘06) won the position of
principal flute with the Abilene Philharmonic
and won the Byron Hester Memorial Flute
Competition.
Help us out—please complete the alumni survey online
Since 1933, the UI School of Music has been an accredited member of the
National Association of Schools of Music. Accreditation evaluations occur every
ten years, and this year the UI School of Music will undergo its review. The onsite visit will take place in early March, and prior to this visit, we are working to
assemble the required documents for compiling this extensive report. We are
collecting information to submit to the national organization and ask for your
participation. If you would like to participate, we encourage you to complete our
alumni survey. It is available online at: www.music.illinois.edu/NASM_Review.
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Anna Mudroch (B.M.E. ’06) received her Master’s
of Music Education degree at VanderCook
College of Music in 2010. Ms. Mudroch was appointed associate director of bands at Lockport
Township High School in 2007 where her
responsibilities include directing a freshman
band, concert band, concert winds, symphonic
band, and assisting with the wind symphony.
Additionally, Ms. Mudroch heads up the Student
Leadership Program for the marching band, is
actively involved in the pep band, and also runs
her own jazz ensemble. Ms. Mudroch is an active
performer and maintains a private woodwind
studio both at Lockport and at Midwest Music
Academy in Plainfield, IL
Petra Music (D.M.A. ‘08) continues in her
position as the Altus Flutes artist relations
coordinator.
Jennifer Nelson (B.M. ‘06) won the Farwell Prize
at the Chicago Musicians Club of Women scholarship competition in 2010 and was awarded a
position with the U.S. Air Force Band of Flight in
January 2011. Leann Schuering (M.M. ’06)
was awarded third place at
the Metropolitan Opera
National Council Auditions
(MONCA) Regional
Competition in Kansas City
on January 30, 2011. The
soprano won the St. Louis District Competition
in November 2010, earning her a spot in the
regional competition. She is a former student of
Dr. Ollie Watts Davis.
Roberta Freund Schwartz (Ph.D. ‘01), associate professor of musicology at the University of
Kansas, is author of “Iowa Stubborn: Meredith
Wilson’s Musical Characterization of his Fellow
Iowans,” in Studies in Musical Theatre III/i: The
American Musical Theatre in 1957, ed. Paul R.
Laird (Intellect Bristol, 2009). She is working on a
monograph about the Chicago or “hokum” blues
of the 1930s. She serves as the advising director
of the KU Archive of Recorded Sound.
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Ji-Yon Shim (D.M.A. ‘04) is cellist in the Trio Puelli
(violin, cello, piano), which in 2010 released a
recording of works by six contemporary Brazilian
composers. She is also cellist on the recent
recordings Músicas de Guerra (apoio FAPESP)
and Mahler – Canção de Terra, listed for the 2010
Carlos Gomes Prize. She teaches cello and chamber music in the Faculdades Cantareira and in
the Escola Municipal de Música in São Paolo.
Charles Joseph Smith (M.M. ’95, D.M.A. ’02)
performed an all-Liszt solo piano recital in Smith
Hall in Urbana in January 2011; performed three
Liszt transcriptions of Schubert art songs at the
“Schubertiade,” in honor of Liszt’s 200th birthday
at the Fine Arts Building in Chicago; and accompanied tenor Jean-Baptiste de Boissiere in
a performance at the Chicago Art Institute. In
recognition of the bicentennial of Liszt’s birth,
he also created “The Etude Project,” a series of
re-interpretations of selected etudes such as
the Transcendental Etude No. 10. Fifteen of
these interpretations were presented in recital
in February 2009, and there are plans for more
recitals featuring this work in the future. Dr.
Smith currently serves as accompanist for voice
teacher Andrew Schultze, and he is accompanist
for the Hartzell United Methodist Church choir
in Chicago.
Colleen Potter Thorburn (B.M. ‘06) performed Reinhold Glière’s concerto in March
in Wrentham, MA, with the Neponset Valley
Philharmonic with which she plays regularly
as principal harp. She premiered several new
orchestral and chamber works involving harp
as the harp fellow at the 2011 Atlantic Music
Festival in Maine. She also commissions and performs new pieces for harp and horn as a founding member of the duo, Apple Orange Pair. In
addition to performing, she teaches piano and
harp privately throughout Connecticut and music history as a part-time lecturer at Naugatuck
Valley Community College in Waterbury, CT.
Joseph Michael Tomasso (B.M. ’06) won the 9th
International Music Competition Premio “Citta
di Padova” and the 9th International Edition of
“Premio Virtuoso” Competition. Both competitions are sponsored by the AGIMUS Association
of Young Musicians in Italy. In addition to cash
prizes, Joe will be given a five-concert tour of
Europe and a journalistic interview in an Italian
music publication. Joe and his primary instructor, Debra Richtmeyer, will have their names inscribed in gold on the AGIMUS registry of honor.
Elivi Varga (D.M.A. ‘07) will release her CD, Silver
Tunes: Music for Flute and Organ, in October 2011
on Sterling Records. The CD includes a worldpremiere recording of Lowell Liebermann’s
“Air” as well as music by Augusta Read Thomas,
Erland von Koch, Jean Langlais, Hildegard von
Bingen, and Johann Roman. Elivi currently
resides in Philadelphia, PA, where she teaches
at Alvernia University, Community College of
Philadelphia, Nelly Berman School of Music, and
Settlement Music School.
Brittany Viola (B.M./B.M.E. ’09) is editor-in-chief
since spring 2011 of the Illinois Law Review, the
UI College of Law’s top journal.
Angela Yang (B.M. ’09, M.M. ’11) accepted the
organist position at St. Peter’s United Church of
Christ in Champaign.
Judy White (D.M.A. ’09) assumed a position with
Burkart Flutes as its sales & customer service
associate. She was recently invited to play a
concerto with the Kankakee Valley Symphony
Orchestra.
Wilson Wong (B.M. ‘09) was selected as the
bass trombonist of the 2011 National Repertory
Orchestra in Breckenridge, CO, under the direction of Carl Topilow. He was also runner up for
the only bass trombone spot at the Colburn
School of Music in Los Angeles. Wong, a former
student of Elliot Chasanov, received his M.M. at
the Manhattan School of Music in 2011 where
he studied with Metropolitan Opera bass trombonist, Stephen Norrell. He is currently pursuing
a D.M.A. at the University of Georgia.
Mark Zanter (D.M.A. ’01) published his text
Music Fundamentals for the Developing Musician.
He is an active composer/performer, and his Star
Pulse for wind ensemble was premiered by Rick
Kurasz at Western Illinois University and by the
composer at Marshall University. In the fall he
was composer/guest lecturer at UFG, Goiania,
and UDESC, Florianopolis, Brazil. Dr. Zanter is a
professor at Marshall University.
Joshua Zink (M.M. ’08) performed Schubert’s
Winterreisse with pianist
John Wustman on the
Crescendo Concert Series at
St. John United Church of
Christ in St. Louis in
September 2011. Recent operatic engagements
include Marullo in Verdi’s Rigoletto with Nashville
Opera, the role of Don Giovanni on tour as a
Mary Ragland Young Artist; and The Mikado and
Die Entführung aus dem Serail with Opera New
Jersey. As an advocate for new works, he collaborated with composer Michael Ching to
workshop A Midsummer Night’s Dream, a new a
cappella opera showcased at Opera America in
New York City in the summer of 2009. Recent
concert performances include singing with the
Dayton Philharmonic in Bach’s St. John Passion
and as a soloist in Handel’s Israel in Egypt. In
2007, he participated in The Song Continues giv-
en by Marilyn Horne at Lincoln Center to promote and preserve the art of song recital.
2010-2011
Hillary Anderson (M.M.
‘11), soprano, was first place
winner of the Nicholas
Raimondi Vocal Scholarship
in the Casa Italia Vocal
Competition.
Benjamin Charles (M.M. ‘11) entered the D.M.A.
program at the University of Miami and is teaching percussion and percussion ensemble as an
adjunct lecturer at Florida Atlantic University in
Boca Raton, FL.
Yi-Chun Chen (D.M.A. ‘11) recently assumed
the role of flute professor at Taiwan National
University.
Aaron Abrahamson Cote (M.M. ‘10) returned
to Rhode Island and established himself on the
local music scene, including appearances at
the Newport BridgeFest, Newport Jazz Festival,
and on radio and television in Provincetown,
Worcester, and Boston. He will be performing on
a number of cruises with the Holland America
Line, circling first the Mediterranean Sea and
then the Caribbean.
Noa Even (M.M. ’10) won third place in the Third
Jean-Marie Londeix International Saxophone
Competition held July 4-16, 2011, at Mahidol
University in Bangkok, Thailand. She was one of
ten competitors from the United States in this
competition.
Stephanie Gustafson (B.M. ‘11) was the first
recipient of the Agnes Krueger Scholarship and
received $20,000 toward her graduate studies in
harp at the Manhattan School of Music for the
2011-12 year. She was also the State of Illinois
ASTA Solo Competition winner and was one of
only two harp finalists selected to compete in
the 2011 American String Teachers Association
National Solo Competition Finals in Kansas City
after a seven-month selection process. The ASTA
Solo Competition is held every two years.
Sara Heimbecker Haefeli (Ph.D ‘11) successfully defended her dissertation on John Cage’s
HPSCHD (1969) in the spring of 2011. This piece
was premiered on the campus of the University
of Illinois. Sara is currently assistant professor of
musicology at Ithaca College.
Desiree Hassler (D.M.A.
’11) is a lecturer in voice at
Moody Bible College and a
full-time chorus member of
the Lyric Opera of Chicago.
Rebecca Johnson (D.M.A. ‘10) is in her fifth year
teaching at Eastern Illinois University. In addition to recitals and master classes throughout
the Midwest, she was invited to perform at
the Convención Internacional de Flautistas in
Quito, Ecuador, in June 2011. At the National
Flute Association Convention in August 2011,
she presented her work as a winner of the NFA’s
Graduate Research Competition and was invited to play on a concert of music for flute and
electronics.
Junghyun Kim (M. M. ‘10, D.M.A ‘09) has been
offered a teaching position at the New School
for Music Study, which is one of the most prestigious pre-collegiate preparatory programs on
the East Coast. The School serves as the pedagogy laboratory program for piano pedagogy
degrees offered through Westminster/Rider
University. Sara Kohnke (B.M. ‘10) began working as
an expert tutor for the Every Child Musician
Programme, a first-of-its-kind program that provides free instruments and lessons to every public school student aged 9 and 10 in the London
Borough of Newham, England. Richard Andrew Miller (M.M. ‘11) received
a Fulbright Grant for research and study in
Bogota, Colombia, under the project rubric,
“Classical and World Percussion: New Music
for Social Change,” including the commission,
performance, and exchange of American and
Colombian new music for solo percussion, as
well as popular music of Colombia.
Simon Rowe (D.M.A ’10)) was appointed the
new director of the Dave Brubeck Institute at the
University of the Pacific in Stockton, CA. He was
the first recipient of a D.M.A. in jazz studies from
the University of Illinois.
Ogni Suono Saxophone
Duo, formed in 2010 by
Phil Pierick (B.M. ’09)
and Noa Even (M.M.
’10), performed and
presented master classes at Rajabhat University
in Songkhla, Thailand in July. On their tour, they
also performed at the Central Market Annexe
Gallery in Kuala Lumpur, Malaysia, and at the
2011 Singapore Saxophone Symposium held at
the Nanyang Academy of Fine Arts in Singapore.
Tyler Schell (B.A. ’11) was selected by the
Student Alumni Ambassadors and the University
of Illinois Alumni Association for recognition
in the Senior 100 Honorary for outstanding
achievement in leadership, academics, and
campus involvement. He was one of three FAA
undergraduates to receive this recognition in
May 2011. The Senior 100 Honorary is a UIAA
program that acknowledges notable seniors for
both their past achievement and their future
commitment to the University. He has interned
at Sony Music Entertainment and Universal
Music Group and is now working at the
Recording Academy in Santa Monica, CA.
Jacqueline Schiffer (B.M.
’11) was a 2011 recipient of
the Foreign Language and
Area Studies Fellowship
through the U.S.
Department of Education.
Schiffer recently completed
her requirements for a Bachelor of Music degree
in voice with a minor in Italian. Currently based
in Florence, Italy, she enjoys cooking lessons and
singing while she is not busy completing her
fellowship duties.
Jennifer Vannatta-Hall
(Ed.D. ’10) was offered a
tenure-track position as
assistant professor of music
education at Middle
Tennessee State University,
a post previously held by
Nancy Boone Allsbrook. Vannatta-Hall also
serves as director of music at First Christian
Church in Shelbyville, Tennessee. She wishes to
thank Professor Matthew Thibeault for his mentoring and encouragement over the past few
years and for his assistance in preparing her for
this new chapter in her life.
Justin Vickers (D.M.A. ’11)
and recent graduate
Joseph Jones (M.M. ‘05,
Ph.D. ‘09) presented at the
Analyser Les Processus de
création musicale (Tracking
the Creative Process in Music)
conference in Lille, France, in September
2011. Vickers is now an assistant professor of
voice at Illinois Wesleyan University.
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In Memoriam
Jack Gottlieb (D.M.A. ‘64) died on February
23, 2011. Jack was born October 12, 1930.
He received his B.A. from Queens College
and M.F.A. from Brandeis University.
Synagogue composer Max Helfman, Jack’s
first mentor, was the one to inspire him to
write sacred music. Jack also studied with
Aaron Copland and Boris Blacher at the
Berkshire Music Center. From 1958 to 1966,
Jack was Leonard Bernstein’s assistant at
the New York Philharmonic. From 1973 to
1977, he was the first full-time professor of
music at the School of Sacred Music, Hebrew
Union College. In 1977, he joined the [now
called] Leonard Bernstein Office, Inc. as
publications director and served as consultant for the Bernstein estate. The New York
Philharmonic named him as the Leonard
Bernstein Scholar-in-Residence for the 20102011 season. Jack was past president of
the American Society for Jewish Music and
received numerous awards, most recently
from the Zamir Choral Foundation. Some
of his secular works are inspired by iconic
movies, including “Downtown Blues for
Uptown Halls,” songs; “The Silent Flickers” for
4-hand piano; “Rick’s Place,” piano trio; “Three
Frankenstein Portraits” for a cappella chorus;
and an opera, The Listener’s Guide to Old-Time
Movies. His books Working with Bernstein, a
memoir (Amadeus Press, 2010), and Funny,
It Doesn’t Sound Jewish: How Yiddish Songs
and Synagogue Melodies Influenced Tin Pan
Alley, Broadway, and Hollywood (Library of
Congress and SUNY Press, 2004) have received rave reviews nationwide. A concert of
his music and celebration of his life will be
held in New York City in February of 2012.
Visit www.jackgottlieb.com for more detailed information.
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Wallace (“Wally”) J. Rave (M.M. ‘65, Ph.D.
‘72) died at the age of 74 on January 28,
2011, after a nine-month battle with leukemia. Wally earned his bachelor’s degree in
music education at Illinois State University,
after which time he served for three years
as a teacher in the choral and instrumental
areas at Stockton (IL) High School. While
teaching at the University of Minnesota, he
received a Fulbright Scholarship to study
in Paris the following year. During work on
his master’s degree, Wally wrote a thesis on
the lute music of Jacques Bittner under the
supervision of Dragan Plamenac, which was
the beginning of Wally’s pioneering research
in the field of baroque lute manuscripts.
His doctoral dissertation in the same area
became a foundation for subsequent studies
in lute music of the French Baroque. In 1967
he joined the music faculty of the Arizona
State University, where he “wore many hats”:
teacher of classes in music history and popular music, adviser, assistant chair, and acting
chair. During his 34-year tenure at ASU, he
authored many articles on music history and
jazz, and he lectured on various topics for
the Phoenix Symphony and Arizona Opera.
He was past president and board member
of the Phoenix Early Music Society and Gold
Canyon Arts Council and a board member
of the Phoenix Chamber Music Society. He
wrote program notes for various concerts
and also wrote liner notes for LP and CD productions. He is survived by his wife, Karen; a
son and a daughter; a granddaughter; two
brothers; and many nieces, nephews, and
friends. A private family service took place
on February 19, 2011, followed by a celebration of life.
Thelma Elizabeth Willett (M.M. ‘46) died
at the age of 86 on December 21, 2009. She
was born in Mansfield, Ohio, and later attended high school in Granville, Ohio. She
attended the Denison University College in
Granville, where she received her Bachelor
of Arts degree. After graduating from the
University of Illinois, she later attended
the University of Michigan and Indiana
University. Mrs. Willett taught music and
piano at the University of Illinois and in 1949
moved to Grand Forks, North Dakota, where
she taught at Wesley College until 1953
when she moved to the University of North
Dakota (UND) to become associate professor of music. She retired from UND in 1989.
Thelma was honored at a memorial service
held at the Federated Church in Grand Forks
on January 5, 2010. Prior to her death, she
established the Thelma Willett Endowment
for Piano Scholarships to support undergraduate piano students at the University of
Illinois School of Music.
Eric Dalheim
(M.M. ‘61), professor
emeritus of vocal accompanying and coaching, died April 18, 2011.
He began his piano
studies at the age of
seven and within several years was accompanying his father’s voice students in their
home. He attended Baldwin-Wallace College
Conservatory (1950-1955), graduating with
bachelor’s degrees in both piano performance and music education. He then spent
two years in the United States Army, stationed mainly in Lyons, France. In 1959, he
came to the University of Illinois, where he
received a master’s degree in music, studying piano with Webster Aiken and Stanley
Fletcher. He began his 43 years as a faculty
member in the UI School of Music in 1961,
where he taught the vocal literature class for
31 years and accompanied nearly a thousand voice student and faculty recitals.
Dalheim retired as professor emeritus in
2004. The late tenor Jerry Hadley said of Eric
that he was one of the “most quintessential
and passionate teachers. . . . He possesse[d]
that rare combination of genius and humility
[that] are the hallmarks of all truly great artists.” In addition to Hadley, Professor
Dalheim had collaborated in concerts with
artists such as Ara Berberian, Blanche
Thebom, Eleanor Steber, William Warfield,
Szymon Goldberg, Joel Krosnick, Michel
Debost, and Roger Bobo. In 1974, Dalheim
was honored as a distinguished alumnus of
Baldwin-Wallace College, and he served as
the official accompanist for the National
Association of Teachers of Singing (NATS).
More recently, he had assisted in nearly 20
Thursday noon concerts at the Mills Breast
Cancer Institute in Urbana, and he was a
co-editor and consultant for the Virtuoso
Obbligato Aria Collection. For several years
he and baritone Ronald Hedlund performed
songs of World War I through World War II
locally and at the Veterans Home in Danville.
Professor Dalheim collaborated with Mr.
Hadley and cellist Barbara Hedlund in the
Emmy Award-winning PBS performance
documentary, “The Song and the Slogan.”
Among many hobbies, Eric was a pocket
billiards enthusiast, counting it no disgrace
that he once lost an exhibition match to the
legendary billiards master Willie Mosconi.
Eric is survived by his wife, Barbara; two
daughters; and four brothers. There was a
visitation on April 23, and a musical memorial was held November 5, 2011, in Smith
Memorial Recital Hall. At the request of the
family, memorials should be directed to the
School of Music (memo: Eric Dalheim
Scholarship) or the American Heart
Association.
George Hunter, professor emeritus of music,
died March 26, 2011, in
Urbana. Professor
Hunter was born in
Columbus, Ohio, on Jan.
30, 1918, attended The
Ohio State University and Indiana University,
and later earned a master’s degree at Yale
University, where he studied with Paul
Hindemith. He was a member of the School
of Music faculty at the University of Illinois
from 1948 until his retirement in 1981.
Hunter was a pioneer in the area of early
music performance practices and founded
the School of Music Collegium Musicum,
which toured extensively in the U.S. in the
1950s. He was the principal teacher of harpsichord during his time at the UI and spent
much of his retirement years building harpsichords. Professor Hunter also edited and
published a great deal of 16th and 17th century ensemble music, particularly for viol
consort. He is survived by daughters
Rebecca Hunter of Elgin, Kate Hunter of
Urbana, and Rachel Hunter of Essex, New
York, and grandsons Benjamin Goldwasser
and Jacob Goldwasser.
Gabriel (Gábor)
Magyar, noted
Hungarian cellist and
professor emeritus of
music, died on June 8,
2011, at Clark Lindsey
Village in Urbana at the
age of 96. Born in Budapest on December 5,
1914, Professor Magyar was a student at the
National Music Conservatory in Budapest
and the Royal Hungarian Franz Liszt School
of Music, where he studied with Zoltan
Kodály, Leo Weiner, Antal Frisch, and Jenö
Kerpely. His early career as a soloist was interrupted during WWII while confined to a
German concentration camp. After his escape, he immigrated to Caracas, Venezuela,
to resume private teaching and pursue his
solo career. He later relocated to the United
States as professor of cello and chamber
music at the University of Oklahoma (1951–
1956), during which time he performed as a
soloist nationwide. In 1956, Magyar became
a member of the Hungarian String Quartet,
performing and recording internationally for
16 years. After the quartet disbanded in
1972, he joined the music faculty at the
University of Illinois, where he served as a
professor of cello and chamber music until
his retirement in 1980. His honors include
having received the Bartók Award from the
Bartók Kuratorium (1987); two Grand Prix du
Disque awards for his Beethoven series recordings; and the Chevalier du Violoncelle
Award from the Eva Janzer Memorial Cello
Center at Indiana University (2000). He also
possessed a talent for art, and his drawings
were exhibited locally at the Illini Union
Gallery and the Springer Cultural Center. His
wife of many years, Julie (“Nyuszika”), preceded him in death. A funeral Mass was celebrated on June 15, 2011, at St. Mary’s
Church, Champaign. Memorials may be
made to the University of Illinois School of
Music (memo: Magyar Cello Scholarship) or
to St. Mary’s Church in Champaign.
Partners in Tempo
G I F T S I N S U P P O R T O F T H E S C H O O L O F M U S I C ( J U LY 1, 2010– S E P T E M B E R 30, 2011)
The following list represents contributions of $100 and higher to the University of Illinois School
of Music accumulated through the generosity of alumni and friends between July 1, 2010, and
September 30, 2011. We thank you for your support of the talent, teaching ability, and dedication
that abound within the School of Music. For the full list of contributors from the 2010-2011 honor
roll, please visit music.illinois.edu/giving/recognition-of-donors.
Please note that members of the Presidents Council are designated with an asterisk (*). The
Presidents Council, the University of Illinois Foundation’s donor-recognition program for those
who give at the highest levels, is reserved for contributors whose outright or cumulative gifts total
$25,000 or more, as well as those who have made deferred gifts of $50,000 or more.
The School of Music welcomes new contributors to the 2011–2012 honor roll. Questions or
corrections may be directed to Sally Bernhardsson, Director of Development, at [email protected]
or (217) 244-4119.
PRESTISSIMO
($15,000 and above)
Prestissimo ($15,000 and above)
Mr. John P. Davidson III and Ms. Shirley A.
Schaeffer*
Dr. Sheila C. Johnson*
Mr. David A. Kamm*
Ann Scott Mason Trust (Dec)*
Donald E. Messman Trust (Dec)
Howard A. Stotler Trust (Dec)*
Mr. Paul B. and Mrs. Virginia L. Uhlenhop*
George Unger Charitable Remainder Unitrust
(Dec)*
W. Cornelius VanPappelendam Estate (Dec)
Thelma Willett Estate (Dec)
PRESTO
($1,000–$14,999)
Mr. William P. Alberth Jr. and Mrs. Patricia
A. Robb
Ms. Forough Minou Archer
Beth L. Armsey*
Mrs. Fern Hodge Armstrong*
Mr. Robert M. Barnes Jr. and Mrs. Lisa-Ann
Lingner Barnes
Dr. Alan R. Branfman*
Mr. Carl H. Buerger III and Ms. Sarah E.
Chernick Buerger*
Dr. W. Gene and Mrs. Lynd W. Corley*
Mr. William and Mrs. Eleanor M. Crum
Mr. Roger R. Cunningham
Mrs. Barbara L. Dalheim
Mrs. Lynne E. Denig
Prof. Gert and Mrs. Anne A. Ehrlich
Dr. Albert C. England III and Mrs. Barbara A.
England*
Mr. James R. and Ms. Candace Penn Frame*
Mr. Sheldon S. Frank
David R. Hamilton, M.D.
Mr. Joseph R. Hanley and Mrs. Kristy L.
Mardis
Mr. Edward W. Harvey*
Mr. Ronald W. and Mrs. Barbara S. Hedlund
Dr. Raymond V. and Mrs. Lori L. Janevicius*
Mr. Bruce C. Johnson*
Mr. Edward J. Krolick*
Mr. David R. and Ms. Carol C. Larson
Ms. Sandra R. Leonard
Dr. Sara de Mundo Lo*
The Honorable Stephen E. Manrose
Dr. Steven E. and Mrs. Jennifer S. Mather*
Mrs. Diane Emiko Matsuura
Mr. John S. and Mrs. Virginia P. Mead
Mr. Charles T. and Mrs. Trudy R. Medhurst
Ms. Susan Harmon Meyer
Mr. Craig R. and Mrs. Margaret Resce Milkint*
Mr. J. Michael Moore
Dr. George A. Pagels*
Mr. Daniel J. and Mrs. Marjorie A. Perrino*
Mr. William G. and Mrs. Cynthia N. Petefish
Mr. Dean A. Pollack and Ms. Lizabeth A. Wilson
Mr. James R. Ponder and Ms. Jennifer A. Sochacki
Dr. Edward and Mrs. Lois Beck Rath*
Mr. Allan H. and Mrs. Dorothy E. Romberg
Dr. Charles A. and Dr. June R. P. Ross*
Mitchell B. Rotman, M.D.
Dr. Edwin A. Scharlau II and Mrs. Carol A.
Scharlau*
Mr. Arthur Lee and Mrs. Frances A. Schlanger
Dr. Paul K. and Mrs. Susan K. Schlesinger*
Mr. Richard H. and Mrs. Janet D. Schroeder*
Mr. Gary E. and Mrs. Beverly N. Smith
Judge Lawrence A. Smith Jr. and The Reverend
Donna Hacker Smith*
Wesley Quayle Stelzriede Estate (Dec)
Mr. G. Gregory and Mrs. Anne D. Taubeneck*
Mr. John H. Walter and Mrs. Joy Crane ThorntonWalter*
VIVACE
($500–$999)
Mr. Erwin O. and Mrs. Linda A. Arends*
Mr. Bruce K. Ballard
Mr. Theodore J. Barczak
Mr. Sigurbjorn and Mrs. Sally Bernhardsson
Mr. Richard B. Biagi
Mr. Craig W. Branigan
Mr. Clark A. and Mrs. Cynthia Massanari Breeze
Dr. Robert S. Bretzlaff
Mrs. Jennifer Williams Brown
Mr. Richard B. Cogdal*
Mr. Ronald J. and Mrs. Melody J. Domanico*
The Honorable Ann A. Einhorn*
Mr. James Paul and Mrs. Lauren R. Emme
Mr. Michael D. Fagan
Mr. Cleve W. Fenley
Mrs. Margaret A. Frampton*
Prof. Marvin and Mrs. Matilda Frankel*
Dr. Michael T. Fresina
Mrs. Melva F. Gage*
Mr. Brandon D. Gant
Ms. Martha Ann Geppert
Mr. James J. and Mrs. Jennifer A. Gettel
Mr. Andrew L. Goldberg
Mr. Robert Knight Gray
Ms. Kathleen A. Harvey
Mr. Robert L. and Mrs. Cynthia A. Hormell*
Mr. William T. and Dr. Julie Dierstein Jastrow
Mr. Rick R. and Mrs. Alice Joellenbeck
Mr. Robert G. and Mrs. Cynthia M. Kennedy*
Mr. David W. and Mrs. Jennifer L. Knickel
Mr. John W. Koenig Jr.
Mr. William J. and Ms. Carol A. Kubitz*
Mr. David William and Mrs. Barbara R. Lembke*
Dr. James T. and Mrs. Tammara D. Madeja
Dr. Peter J. and Mrs. Elizabeth M. March*
Mr. Leonard G. and Mrs. Bridget G. Marvin*
Dr. Gordon W. Mathie
Mrs. Joanne J. McIntyre*
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Mr. Bryan J. Meeker
Mrs. Mariana H. and Mr. Robert B. Meeker
Dr. Stephen Tipton Miles and Mrs. Kathleen Mae
Killion*
Mr. Ralph E. Miller and Mrs. Yvonne B. Begian
Prof. William and Prof. Charlotte Mattax Moersch
Mr. Frank H. Mynard III and Mrs. Suzanne Mynard*
Prof. Bruno and Mrs. Wanda M. Nettl*
Dr. Kenneth G. Nolte
Dr. Jeffrey Russell and Dr. Rebecca Kliewer Olson*
Mrs. Jean and Prof. Howard Osborn*
Mr. William J. Pananos
Mr. Raymond Martin Pasteris*
Dr. Stephen L. and Dr. Esther Portnoy*
Mr. Paul A. and Mrs. Yvonne G. Redman
Mr. Jeffrey L. and Mrs. Joyce Kim- Rohrer
Dr. Michelle P. Rose- Skinner
Mr. Paul D. Sarvela
Mr. Thomas E. Schrickel*
Mr. Glendon A. and Mrs. Julie A. Schuster*
Dr. Dennis J. and Mrs. Patricia H. Schwarzentraub*
Mr. William R. Scott
Mr. Steven P. and Dr. Lisa M. Seaney
Dr. Thomas M. and Mrs. Cynthia H. Siler
Mr. Frederick V. Simon
Mr. Melvyn A. Skvarla
Prof. Nicholas and Prof. Mary S. Temperley*
Dr. Peter and Mrs. Nancy Van Den Honert
Mrs. Sandra Smith Volk*
Mr. Russell A. and Mrs. Cheryl L. Weber*
Dr. David L. Whitehill
Mr. Steven R. and Mrs. Kathryn J. Williams
Ms. Susan J. Williams
Mr. Robert L. Zarbock
ALLEGRO
($200–$499)
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Mr. William P. Alberth
Mr. Robert N. Altholz
Dr. Richard E. and Mrs. Carolyn B. Anderson
Ms. Claretha Anthony
Dr. Anton E. Armstrong
Prof. Walter L. Arnstein
Sandra L. and George O. Batzli*
Martha S. Beerman Trust (Dec)
Patrick J. Bitterman*
Mr. Alan W. Blair
Mr. Clark S. and Mrs. Karen S. Brookens
Ms. Shirley A. Brosch
Mr. Bruce R. Brown
The Reverend Stephen S. Burgener
Dr. Wesley R. Burghardt and Ms. Angela M.
Stramaglia
Mrs. Janet K. and Mr. Jeffrey M. Carter
Mr. R. Kevin and Mrs. Heidi G. Chiarizzio
Mr. Thomas E. and Mrs. Amy A. Clark
Ms. Phyllis L. Cline
Ms. Amanda G. Comer
Mrs. Laura J. Coster
Dr. Ralph H. Council
Mr. James L. Davidson Jr.
Mr. Alan C. Davis
Mrs. Marguerite L. Davis
Mr. John D. and Mrs. Angela Deligiannis
Dr. Delbert D. Disselhorst
Mr. Hans J. Doebel
Mr. E. Paul and Mrs. Suzanne Duker
Dr. David Eiseman
Mr. Thomas J. Erb
Mr. Timothy A. and Mrs. Anne Hastings Fiedler
Mr. Roger C. and Mrs. Linda C. Fornell*
Dr. Diane Foust and Mr. James A. Nelson
Prof. Douglas A. and The Reverend Margaret A.
Foutch
Mr. James J. Freda
Mrs. Mary M. Gaddy
Nancy L. Gavlin*
Ms. Dorothy E. Gemberling*
Ms. Vickie A. Gillio
Mrs. Elizabeth W. Goldwasser*
Mr. Nicholas Good
Prof. Robert B. and Nobuko S. Graves
Dr. David M. Gross
Mr. Gregory R. Grove
Mr. Charles E. Gullakson
Mr. John J. and Mrs. Marilyn H. Haynie
Ms. Heather M. Hermanson
Dr. James W. Hile
Mr. Harold E. and Mrs. Liz Hindsley*
Ms. Gaye Ann Hofer and Dr. Gregory Michael
Cunningham
Dr. Jesse E. Hopkins Jr. and Mrs. Alice L. Hopkins
Mr. Samuel M. Huber
Dr. Albert C. Hughes Jr. and Mrs. Charlotte E.
Hughes
Ms. Jane P. Hummel
Dr. R. Bruce and Mrs. Sandra S. Huston
Dr. Barbara G. Jackson
Mrs. Kathryn A. and Mr. Alan J. Janicek
Mrs. Mary L. Johnson
Vinson M. and Linda G. Johnson
Prof. Marianne E. Kalinke
Mr. Thomas J. Keegan
Mr. Howard V. Kennedy
Mr. Thomas M. and Mrs. Susan A. Koutsky
Robert E. Kraetsch, M.D.
Mr. David D. Kullander
James E. LeGrand, M.D.
Mr. Stephen J. Madden III and Mrs. Janet M.
Madden
Mrs. Deborah A. and Mr. Ricky Mason
Mr. Stephen A. and Mrs. Anne Bronson McClary*
Mrs. Anna J. Merritt*
Mr. John Warren Meyer
Dr. David W. and Mrs. Sharron P. Mies
Mr. William R. and Mrs. Martha Behr- Miller*
Mr. LeRae Jon Mitchell
Mr. Jeffrey Leigh Modlin
Ms. Ruth A. Moore
Mr. Robert E. Morgan*
Mr. Mark W. Mosley and Mrs. Sarah J. Good
Mrs. Gerda T. Nelson
Mr. William J. Nicholls
Jean and Hiram Paley*
Mrs. Margene K. Pappas
Dr. Susan Parisi and Prof. Herbert Kellman
Dr. Karin A. Pendle
Mr. Jeffrey Robert and Mrs. Barbara Jo Peterson
Mr. Michael S. Pettersen
Dr. William P. Potsic
Dr. Michael J. and Mrs. Diane M. Potts
Mr. Michael W. Pressler
Mrs. Karyn A. Quandt
Mr. Verlin D. Richardson
Mrs. Cheryl Lynn Richt
Mr. Luzern A. Richter
Donald and Gay Roberts*
Dr. Kevin W. Rockmann
Mr. Kenneth W. Rubin
Mr. Robert John and Mrs. Elda Louise Ruckrigel
Mr. Thomas K. and Mrs. Cheryl M. Scanlan
Mr. Wallace B. and Mrs. Patricia J. Schroth
Mrs. Christie B. Schuetz*
Mrs. R. Janice and Prof. Donald R. Sherbert
Mrs. Renee S. Slone
Dr. William J. Stanley
Mr. Dennis M. Steele
Mr. Dennis O. Thiel
Mr. Jason G. Tice
Mr. Jon Kenneth Toman
Prof. H. C. and Mrs. Pola Fotitch Triandis*
Mr. Jeffrey W. and Mrs. Ruth A. Trimble
Mr. David A. and Mrs. Deborah M. Trotter*
Mr. John Austin Van Hook
Mr. Jeffrey D. and Mrs. Kimberly Ann Wahl
Ms. Diane K. Walkup
Ms. Lisa A. Weinstein
Mr. George R. and Mrs. Diane H. Wilhelmsen
Mr. Richard Lee Williams
Dr. William R. and Mrs. Lois J. YaDeau
Mr. Michael Ziegler
Dr. Steven C. Zimmerman and Dr. Sharon Shavitt*
ALLEGRETTO
($100–$199)
Dr. Montgomery M. Alger
Prof. Carl J. and Mrs. Nadja H. Altstetter*
Mr. JoMar C. Alwes
Mr. David G. and Mrs. Sharon M. Anderson
Mr. Glenn R. Anderson
Mrs. Pamela K. Arbogast
Dr. M. Jocelyn Armstrong
Ms. Pamela T. Arnstein
Mr. Charles C. Aschbrenner
Mr. Larry J. Ashley
Dr. David F. Atwater
Ms. Susanne L. Aultz
Mrs. Virginia A. Baethke
Dr. David C. and Mrs. Debra S. Barford
Mr. Raymond A. Baum
Dr. Gordon A. Baym*
Mr. Thomas L. and Mrs. Jo Beckwith
Mr. Wayne E. and Mrs. Susan E. Bekiares
Ms. Sharon Mae Berenson
Prof. Richard J. and Mrs. Carol A. Betts*
Mr. Subhash B. and Mrs. Manisha K. Bhagwat
Mr. Ronald T. and Mrs. Marie E. Bishop
Dr. Jonathan T. and Mrs. Sarah L. McKibben Black
Ms. Mary Ann Boggs
Mr. Joseph A. Bonucci
Ms. Kareen G. Britt
Dr. Elizabeth M. Buckley
Mrs. Luana M. and Mr. Charles M. Byte
Mr. Fernando R. Campos
Ms. Sandra Carr
Mr. Gregory G. and Mrs. Susan M. Clemons
Dr. Gerard J. Corcoran
Mrs. Elaine D. and Mr. Paul T. Cottey
Ms. Doreve A. and Mr. Richard B. Cridlebaugh
Dr. Warren J. Darcy
Dr. Daniel J. Dauner
Mr. John W. J. Davis
Mr. Michael L. and Mrs. Cynthia A. Dech
Mr. Richard N. DeLong*
Mrs. Susan B. DeWolf
Russell B. Dieterich, M.D.
Mr. John Hill Dimit Jr. and Mrs. Mary Angela Dimit
Mr. Jeffrey M. and Mrs. Jill Schluester Dorries
Mr. C. William and Mrs. Kay W. Douglass
Dr. Kenneth O. Drake
Mr. John P. Drengenberg
Mr. Oliver F. Dubre
Ms. Marilyn M. Duginger
Mr. LeRoy E. Duncan
The Reverend Wyeth W. Duncan
Mr. John G. Dunkelberger II*
Mr. Kristopher J. and Mrs. Cheryl M. Einsweiler
Mr. Stephen L. Enda
Mrs. Joanne H. Erwin
Mr. Rodney L. and Mrs. Aldena L. Everhart
Mr. Frederick D. Fairchild
Mr. Stephen A. Farr
Mrs. Mary L. Farrell
Mr. Allen H. Feige
Mr. Scott D. Feldhausen
Ms. Judith A. Feutz
Mr. Neil M. Finbloom
Mr. Chad Ryan and Ms. Lisa Marie Fischer
Mrs. Anne F. Flynn*
Mr. Jorge I. Forti
Mr. David and Mrs. Sharon Bray Frank
Mrs. Roxanne C. Frey*
Prof. Stanley and Mrs. Frances Friedman
Mrs. Kathleen M. Gamble
Mr. Robert C. Gand
Dr. Kathleen S. and Mr. Arthur S. Gaylord
Ms. Viva G. Gillio
Mrs. Joli L. Ginsberg
Mr. Thomas E. Goettsche
Mr. Norman A. Goldberg (Dec)*
Dr. Joe W. and Mrs. Rebecca M. Grant
Mr. Gregory M. Grobarcik
Margaret Rosso Grossman, Ph.D., J.D., and Dr.
Michael Grossman*
Mr. Glen E. Gullakson
Prof. Nathan T. and Dr. Julie J. Gunn
Mr. John W. and Mrs. Michelle S. Hackett
Mr. Richard K. Haines
Mrs. Candice A. Hansen
Mr. Matti Harm
Dr. Albert D. Harrison
Ms. Mary Ann Hart
Mrs. Gretchen Graepp Haskett
Mr. Scott Douglas Hawbaker
Mrs. Vera A. Hays
Mr. Morris L. Hecker Jr.*
Mr. Robert J. Henderson
The Reverend Marion L. and Mrs. Connie M.
Hendrickson
Ms. Karen Ann Higdon
Dr. Zarina M. and Prof. Hans Henrich Hock*
Dr. W. Peter and Mrs. Joan M. Hood*
Ms. Lisa A. Hopkins
Mr. Donovan P. Hough
Mr. Michael R. Hurtubise and Ms. Ann E. Murray
Mrs. Janice C. Impey
Mr. Benjamin L. Jackels
Mr. Edward R. Jacobi Jr.
Mr. Joseph R. Jakubicek
Mrs. Laurine Jannusch
Mr. Jeffrey R. and Mrs. Eileen M. Jasica
Mrs. Gail A. Jindrich
Mr. Wallace E. Jobusch
Mr. Carlyle W. and Mrs. Judith M. Johnson
Dr. James R. Johnson
Mr. Robert R. and Mrs. Bobbie S. Johnson
Mr. Robert A. and Mrs. Suzanne J. Jozwiak
Mr. Derek J. Justmann
Dr. Dennis K. M. Kam
Mr. Michael Keller
Mr. Christopher W. Kelly
Mr. R. Edward and Mrs. Barbara Kiefer
Dr. Kent L. and Mrs. Karen A. Knoernschild
Ms. Marilyn L. Kohl
Mr. Michael K. Konrad
Dr. Karl P. and Mrs. Jean E. Kramer
Ulrich E. and Mary U. Kruse
Ms. Ann K. Kruska
Mr. Andrew M. and Mrs. Susan M. Kunz
Mr. William O. Kuyper
Dr. Marvin Lee Lamb
Mrs. Barbara A. and Mr. Rob Lanham
Mr. Ronald P. and Ms. Joan R. Larner
Dr. Peter J. LaRue
Mr. Blake W. Linders
Mr. Alan B. Lopatka
Mrs. Virginia K. Lovett
Prof. Morgan J. Lynge Jr.*
Dr. Walter J. and Mrs. Marguerite F. Maguire*
Mr. Frederick L. Mann
Mrs. Constance A. Marigold*
Mr. David V. and Mrs. Carolyn R. May
Ms. Judith McCulloh*
Mr. Myron D. and Mrs. Nancy Ellen McLain
JoAnn McNaughton- Kade*
Mrs. Ellen M. Mettler
Mrs. Elizabeth B. Miley*
Mr. James C. Miller
William S. and Christine Piatek Miller
Mrs. Rita J. Millis
Mrs. Eleanor L. Milnes
Mr. Brian S. and Mrs. Bonnie J. Mitchell
Mr. G. Frederick Mohn
Ms. Phyllis Brill Munczek
Dr. Sylvia C. Munsen
Dr. Robert D. Mussey*
Mr. Fredric G. Nearing*
Mr. Nicholas A. Nicholson
Kim Nickelson, M.D.
Mr. Lee E. Nickelson Jr.
Mr. Andrew F. Nickles
Mr. David W. Norris
Mrs. Mary Ann Norton
Dr. Eugene D. Novotney
Mrs. Elizabeth C. and Mr. Mitchell Nuss
Mrs. Marjorie S. Olson
Dr. David C. and Mrs. Darcy J. Osterlund
Mr. Michael T. O’Sullivan
Mr. Robert F. Pattison
Ms. Anne M. Petrie
Mr. Michael A. Pizzuto
Mr. Kenneth R. Pletcher
Mr. James T. and Mrs. Margaret M. Pokin
Mr. William L. and Ms. Retta Pollio
Mr. Michael W. Preston
Mrs. Carol Caveglia Price
Dr. Joe N. Prince
Winifred Ehler Ramstad
Mr. Jeffrey A. Randall
Mrs. Karen Diane Ranney
Mr. Stanley E. Ransom
Mr. Richard L. and Mrs. Alexis G. Rasley
Mr. Daniel J. Repplinger
Mr. William D. and Mrs. Barbara J. Rice
Mr. M. John Richard
Dr. Selma K. Richardson*
Mrs. Lois M. Richter
Dr. Franz Roehmann
Mr. Neal D. Rogers
Mr. Robert J. and Mrs. Diana L. Rogier
Mr. Martin L. Rosenwasser
Dr. Sylvia L. Ross
Mrs. Janice F. and Prof. Melvin Rothbaum*
Dr. Robert W. and Mrs. Linda S. Rumbelow
Dr. John M. and Dr. Kathreen A. Ryan
Mr. Randy K. Salman
Mr. Joseph G. Sanstrom
Mrs. Jeanne D. and Mr. Ray K. Sasaki
Ms. Madeline S. Sauerbier
Mr. John W. Schmelzel
Mr. Herbert Schneiderman
Ms. Alison M. Schoen
Dr. Steven E. Schopp
Mr. John F. and Mrs. Nancy K. Schwegler
Dr. Karla Sendelbach- and Mr. Alex Elizondo
Mr. Ralph E. Shank
Ms. Teresa A. Shine
Mr. John D. Skadden
Prof. Robert M. and Mrs. Mary M. Skirvin*
Mr. Ralph C. Skogh
Gregory L. Skuta, M.D.
Dr. William C. Smiley
Mr. Donald L. Smith
Mr. Philip and Mrs. Marilyn Smith
Mr. David D. Sporny
Mr. Brian K. Stabler
Mrs. Elizabeth M. Starkey and Mr. Elmer Starkey
Mrs. Janet N. Steffy
Dr. David B. Stein
Mr. James R. Straub
Mr. George E. Strombeck
Dr. Stephen L. Stroud
Nancy E. Stutsman
Mr. J. David Sulser
Prof. Earl R. and Mrs. Janice E. Swanson*
Ms. Jennifer L. Hested Swayne
Mr. Scott L. Swinderman
Ms. Kimberly I. Tallungan
Mr. John A. Tenuto Jr.
Mr. Lawrence E. Thee
Mr. Matthew D. Thibeault
Mrs. Jacqueline A. Tilles
Marie Griffith Tompkins*
Mr. Robert L. and Mrs. Mary Wilkes Towner
Mr. Michael A. and Mrs. Olivia L. Tremblay
Mrs. Jane Groft Turcza
Mrs. Angelija Vasich
Dr. Michael L. and Mrs. Diane L. Venn
Mrs. Lynn E. Ward
Mr. Earl J. Way
Dr. Calvin E. Weber
Dr. Hong Wei
Mr. Gerald G. and Mrs. Mary Beth Weichbrodt
Miss Ruth E. Weinard
Mr. Duane H. and Mrs. Bonnie Johansen- Werner
Dr. Craig J. Westendorf
Mr. Roger M. Widicus
Mrs. Susan M. Williams
Mr. Keith L. Wilson Mr. Scott Alan and Mrs. Marian Kuethe Wyatt
Mr. Charles L. and Mrs. Marti Yassky
CORPORATIONS, FOUNDATIONS,
AND ORGANIZATIONS
Ann and Gordon Getty Foundation
Bay-Com Enterprises
Carroll Housing Inc.
The Chicago Community Foundation
Community Foundation of East Central Illinois
The Erwin and Linda Arends Foundation
Fidelity Charitable Gift Fund
Golden Lyre Foundation IL Federation of Music
Clubs
Haines & Associates Ltd.
Harry A. Rice Insurance Agency
Illinois Opera Theatre Enthusiasts
The Joseph Bartkowiak Memorial Fund
Kaufman Financial Services, Ltd.
Kenneth and Diane Matsuura Foundation
M. R. Bauer Foundation
Marshall Family Trust
Neil A. Kjos Music Company
Opera Illinois League
Our Lady of Loretto Men’s Club
Pasteris Energy, Inc.
The Presser Foundation
Roe Family Trust
Sheila C. Johnson Foundation
The Stough Group Inc.
Thiel Accounting & Financial Services
TRUiST Altruism, Connected
U.S. Charitable Gift Trust
Vanguard Charitable Endowment Program
Village Music Store
MATCHING GIFTS
Abbott Fund
Ball Corporation
Bank of America Foundation
The Boeing Company
Edison International
Exelon
ExxonMobil Foundation
Fidelity Foundation
First Midwest Bancorp, Inc.
GE Foundation
HSBC Bank USA
IBM Matching Grants Program
Illinois Tool Works Foundation
Ireetec Incorporated
McKesson Foundation, Inc.
Mead Johnson Nutrition
Nokia Initiative for Charitable Employees
The Northern Trust Company
Northwestern Mutual Life Foundation, Inc.
PNC Foundation
Sempra Energy Foundation
St. Petersburg Times Fund, Inc.
State Farm Companies Foundation
Swiss Re
Takeda Pharmaceuticals North America, Inc.
Texas Instruments Foundation
Thrivent Gift Multiplier Program
W.W. Grainger, Inc. Corporate Giving Program
Wells Fargo Foundation
Xcel Energy Foundation
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Non-profit
O rganization
U.S. Postage
PAID
Permit No. 100
Champaign, IL
1114 West Nevada Street
Urbana, Illinois 61801
ADDRESS SERVICE REQUESTED
JUNE AND JULY 2012
E 2012
C
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E
P
X
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FIRST SESSION
June 17–23
Senior Band*
Senior Orchestra*
Musical Theatre*
Advanced Piano
Organ
SECOND SESSION
June 24–30
Senior Chorus*
Junior Bands
Junior Orchestras
Cello
Clarinet
Double Reed
Flute
Horn
Percussion
Piano
Saxophone
Trombone
Trumpet
Viola
Violin
THIRD SESSION
July 8–14
Senior Jazz
Junior Bands
Junior Chorus
Junior Jazz
Composition/Theory
Junior Piano
Rock Band/Songwriting
ELECTIVE STUDY
Alexander Technique
Balinese Dance
Careers in the Arts
Composition/Theory
Conducting
Didgeridoo
Gamelan
Group Piano
Music Technology
*ISYM ACADEMY
The ISYM Academy is an accelerated track within the large ensemble program giving high-level performers a
more rigorous musical experience.
Those selected for The Academy will participate in a college preparatory musical program including private
lessons, repertoire classes, master classes and chamber music—all coached by our outstanding ISYM faculty.
REGISTER ONLINE:
www.music.illinois.edu/isym